EDITION 5 2021
RESEARCH AND INNOVATION
A spotlight on Wellness Pymble Ladies’ College
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Contents From the Principal ............................................................................................................... 3 From the Editor .................................................................................................................... 4 Our contributors .................................................................................................................. 5 The Primary / Junior School to Middle School transition ...................................... 10 The place of play in the Secondary English classroom? ........................................20 Out of their seats and asking great questions ...........................................................30 Junior School - Learning through play ........................................................................38 The power of kindness ....................................................................................................48 The art on Pymble’s walls ...............................................................................................52 Haptic thinking in the Visual Arts classroom ..............................................................58 What is an academic journal? ........................................................................................64 Global skills in Religion and Ethics ................................................................................68 A (research) hero’s journey ............................................................................................. 72
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Illuminate Research and Innovation
From the Principal
“Wellbeing underpins everything we do at Pymble”
Our country is currently engaged in a
they have contributed richly to our
Congratulations to all our published
big, important and ongoing conversation
understanding of wellbeing in schools
authors, collaborators and contributors
about the mental health of our young
and how this places the holistic health
and to our Illuminate Editor, Dr Sarah
people and, most recently, the complex
of students at the centre.
Loch. Thank you for sharing your
topic of sexual consent, which links to
invaluable experiences and findings, and
both physical and mental health. Never
Articles from teachers explore the role
inspiring more critical conversations
before has a school’s focus on wellbeing
of art in enhancing wellbeing, the
about the deep connections between
been considered so critical in the whole-
importance of transition programs to help
wellness and successful learning for life.
of-community approach that is necessary
primary students step confidently into the
to nurture this generation of learners as
brave new world of Secondary School,
Finally, to have students who feel good
resilient, confident and compassionate
the cultivation of a kindness culture in
and function well, we need the adults
individuals. For this reason, we are
Junior School, and how wellbeing is
who support, teach and nurture our
dedicating our two editions of Illuminate
enacted through learning in English and
young people to feel well-supported, too.
in 2021 to exploring this vital theme.
Religion and Ethics classrooms.
Research Professor and author Brene
Wellbeing underpins everything we do at
We are incredibly proud of our student
about the importance of vulnerability,
Pymble. It guides our vision, our values
contributors, Lucy Clark and Charlotte
and I would encourage the adults who
and our Mind, Body and Spirit Framework
Hartin (Year 10), who conducted
care for our children to also care for
which underpins our curriculum for K-12.
interviews with Associate Professor
themselves first. During the incredibly
This framework works to equip our girls
Nicole Mockler from the University
challenging year of 2020, the team at
with the knowledge and skills to harness
of Sydney Faculty of Arts and Social
Pymble was regularly reminded to “put
their inner strengths and flourish as
Sciences to develop their understanding
on their oxygen mask first”. It may seem
learners and in life. Fundamentally, if we
of the potentially intimidating world of
obvious but I wanted you to know, that
feel good and function well, our ability
academic journals, including how to
as a leader of a school, my care is for our
to engage in academic or co-curricular
deal with rejection. Our young
educators as well as our students. Stay
opportunities is greatly enhanced.
researchers in Junior School have also
well, stay safe and do something that
been involved in investigating examples
makes you smile today!
Brown has made a career of speaking
In this edition of Illuminate, Pymble staff,
of play with our Deputy Head of Junior
students and guest writers share how
School, Anna Plant.
DR KATE HADWEN PRINCIPAL B.ED, GRAD CERT ED LEADERSHIP, M.ED, PHD
Pymble PymbleLadies’ Ladies’College College
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From the Editor
“Drawing on their own strengths and deep interests, the authors in this edition provide case studies of ways that wellbeing comes to the fore from different perspectives”
This edition of Illuminate draws our
The concept of ‘well-being for all’ is
community’s attention to the topic of
explored by Associate Professor of
wellbeing. What is wellbeing? Rich in
Education, Dr Catherine O’Brien, whose
meaning and perspective, wellbeing
work asks where the place of education
means different things to different
can be in this globally important story.
people. It is arguably a concept that
O’Brien (2016) asserts that both students
should be challenging to pin down so as
and their teachers have a leading role
not to lose sight of its multi-meaningful
to play in being both “choice makers”
nature which is co-constructed by
and “change agents” as they create the
context, gender, age, religion, health
type of sustainable happiness our planet
and other aspects of human life. To offer
needs. In identifying “the essential role of
a starting point, however, wellbeing is
the educator”, O’Brien reflects that “there
defined by the Oxford Dictionary as
are so many leaders, of all ages, who are
“general health and happiness” and it was
undaunted, invigorated, and finding novel
from a similar base that the articles in this
ways to disrupt education”.
edition were collected. All of us working in the field of education, and the closely associated areas of sports, performing arts, health care and boarding, which also involve children and young people, come from the position of seeking to support our students to thrive. It is an asset to a diverse community of girls and young women that educators see wellbeing through prismatic lenses. The articles span classrooms, play spaces and walls of our buildings across the
The process of writing is not a short one, but it is incredibly satisfying to know you have raised your voice about a topic of importance. This, too, is wellbeing. Congratulations to the staff and students who have contributed to changing the world through adding their voice to creating change in the diverse and vitally important area of wellbeing.
DR SARAH LOCH DIRECTOR OF RESEARCH AND DEVELOPMENT
College, as well as ways that curriculum and assessment play a part in wellbeing. The articles also demonstrate ways that the roles of teacher and learner interchange as, when it comes to research and wellbeing, we all have a part to play.
References
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Pymble Ladies’ College Illuminate Research and Innovation
O’Brien, C.2016. Education for Sustainable Happiness and Well-Being, Routledge: New York.
Our contributors
Victoria Adamovich Victoria Adamovich moved from Taipei to London at the age of eight without a word of English and acutely understands the challenges faced by EAL/D (English as an Additional Language/Dialect) students. She went on to adore languages and studied French and Japanese at the University of Edinburgh. After working for ten years in Asia as a marketing executive, she retrained as a teacher at the University of Hong Kong. She taught in bilingual English-Chinese schools in Hong Kong and Shanghai, returning to Sydney three years ago. She is a passionate advocate for EAL/D students and their families. She believes in the importance of maintaining heritage languages and identities, and that cultural literacy is a crucial skill. Her Master of Research at the University of Technology Sydney seeks to understand how family structures and choices may impact the wellbeing of EAL/D students.
Kate Brown
David Del Favero
Kate Brown has been teaching across
David Del Favero has been teaching
Kindergarten to Year 8 for more than
art for twenty three years. He started at
13 years since changing careers from
Pymble in 1998, left at the end of 2005
law to education. In her career as an
and returned in 2010. His roles in the
educator, Kate has been a class teacher,
College have included Acting Head of
Year Co-ordinator, Kindergarten to Year
Visual Arts. David is passionate about the
6 Literacy Co-ordinator, Deputy Head of
value art education plays in contributing
Learning and Head of Student Wellbeing
to the holistic development of young
Kindergarten to Year 6. Her approach to
people through engagement with tactile
teaching and learning centres around
and sensory learning experiences.
the philosophy that creating a culture
Haptic learning and the connection
of kindness provides an environment
between drawing and thinking are
in which each child feels happy to be
personal interests of his. The challenge
who they are and, therefore, ready
of cultivating an appreciation for art,
to learn. This enables Kate to inspire
as well as empowering students with
Pymble students to be kind not only to
understandings about the creative
themselves, but to share their ideas with
process, are some of his key motivators.
others and positively impact their world.
For David personally, maintaining a practice in drawing and painting informs
KATE BROWN HEAD OF JUNIOR SCHOOL
and sustains his role as a teacher in the art classroom.
DAVID DEL FAVERO VISUAL ARTS TEACHER
VICTORIA ADAMOVICH EAL/D TEACHER
Pymble Ladies’ College
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Our contributors
Janet Dutton
Nikki Easterbrook
Justine Hodgson
Dr Janet Dutton is a Lecturer in
Nikki Easterbrook is the College Art
Having completed a combined degree of
Secondary English in the Macquarie
Collection Curator and Visual Art
Bachelor of Arts/Bachelor of Education
University School of Education. She has
Technician at Pymble Ladies College.
at the University of New South Wales
extensive experience as a Head Teacher
She is a practising artist working in the
majoring in English Literature, Theatre
English and leader of teacher professional field of photography and site-specific
and Education, Justine began her
learning. Janet has worked developing
installation. Nikki’s photographic work
teaching career in 2003. She also
assessment and curriculum at national
has been exhibited nationally and is
graduated from the Actors Centre
and state level organisations and was
held in several private collections.
Australia. Justine has taught English at
the Chief Examiner, English, for the NSW
She is the recipient of numerous
Pymble for more than 15 years and is
Higher School Certificate, 2011-2016.
prestigious awards, the most recent
extremely passionate about her subject
Janet has a passion for English teaching
being the Percival Portrait Photography
area and enjoys teaching students
that promotes creative pedagogy and
Prize (2020) and the Gosford Regional
across all stages of their secondary
has worked extensively with primary and
Art Prize (2020, 2018).
learning. Justine brings to her English
secondary teachers in the use of identity texts and translanguaging in EAL/D classrooms, and the value of embodied
classroom a love of literature and a
NIKKI EASTERBROOK COLLEGE ART CURATOR AND VISUAL ARTS TECHNICIAN
strong commitment to enhancing the learning experiences, connectedness
pedagogy. Her areas of research also
and engagement of all students. Justine
include secondary English curriculum,
is currently the Lead Teacher of the
teacher identity formation, motivation
Strategic Pillar of ‘Courage’ within
and retention, and the impact of high
the English Faculty.
stakes testing on classroom practice.
DR JANET DUTTON LECTURER, MACQUARIE UNIVERSITY
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Illuminate Research and Innovation
JUSTINE HODGSON ENGLISH TEACHER LEAD TEACHER: COURAGE (ENGLISH)
Mariel Lombard
Mary Nicolas
Anna Plant
Mariel Lombard is Head of Year 7 and
Mary Nicolas commenced teaching
Anna Plant is a passionate educator and
a dedicated French teacher. She has
at Pymble in early 2020. Prior to her
innovative thinker and has been the
been at the College since 2012 and has
teaching career, Mary held positions
Deputy Head of Junior School at Pymble
worked within the Wellbeing team during
in training and development which
for six years. She believes in finding ways
the past six years in both the Middle and
provided a great segue into teaching.
to engage with and enable every child to
Upper Schools. Mariel has a Masters
Graduating with a Bachelor of Arts in
find their voice and a love for learning.
degree in Educational Leadership (School
History and Politics and a Master of
She works alongside staff to encourage
Education) and is passionate about
Teaching in History and English, she
them to be creative in how they design
student wellbeing and girls’ education.
decided to pursue her love of Theology
learning to meet children where they
and completed a Graduate Certificate
are at, to stretch them and to ultimately
in Theological Studies, specialising in
have fun in the process. She believes
Biblical Studies and Ancient Languages.
it is our roles as teachers to unpack
Mary has a passion for the promotion of
the languages of a child and set them
girls’ education and engaging students in
free to play, learn, socialise and dream
inquiry-based learning. She is currently
bountifully about their own future.
enrolled in the University of Melbourne’s
Anna is a keen learner and leader and
Master of International Education
is driven by the concept that there is
program specialising in the International
always more to learn. Prior to joining
Baccalaureate (IB).
Pymble, Anna taught K-8 at William
MARIEL LOMBARD HEAD OF YEAR 7
Clarke College in a variety of roles.
MARY NICOLAS RELIGION AND ETHICS TEACHER
She has also stepped into the role of Acting Head of Junior School at Pymble. Anna is intrigued by how an educational leader can use action research to bring thought change to a learning community, leading to tangible changes in teaching and learning practice.
ANNA PLANT DEPUTY HEAD OF JUNIOR SCHOOL
Pymble Ladies’ College
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Our contributors
Kathleen Rushton
Mathilda Shephard
Dr Kathleen Rushton is interested in
Mathilda Shephard is a recent Arts
supporting students from culturally
and Secondary Education graduate of
and linguistically diverse communities
Macquarie University who completed her
to develop agency in the use of
final practicum in the English Department
translanguaging. As an experienced
at Pymble Ladies’ College in 2020.
primary and secondary EAL/D teacher,
With Justine Hodgson as her supervising
Kathy is also interested in the impact
teacher, she taught Year 7, Year 8
of teacher professional learning on
and Year 11 where she planned and
the development of language and
implemented innovative lessons which
literacy, especially for students from
facilitated collaborative project-based
socio-economically disadvantaged
and experiential learning experiences to
communities. She has undertaken peer-
enhance socioemotional and cognitive
reviews for several refereed journals and
development. Mathilda’s teaching
is an Editorial Board member for SCAN
practice has been shaped by one-on-one
magazine a journal published by NSW
and small group tutoring work, and her
Department of Education and a council
voluntary work at Galston High School
member of both ATESOL NSW, the
where she has assisted Extension 2
professional association for teachers of
English students develop and edit their
English as an additional language, and
creative projects. She is passionate about
The Foundation for Learning and Literacy, literature and lifelong learning and is an organisation which is committed to
excited for future opportunities to further
building and supporting the capability,
develop her capacity to empower young
professional respect and confidence of
people through education.
language and literacy educators.
DR KATHLEEN RUSHTON LECTURER UNIVERSITY OF SYDNEY
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Illuminate Research and Innovation
MATHILDA SHEPHARD EDUCATION GRADUATE MACQUARIE UNIVERSITY
Student contributors
Lucy Clark
Charlotte Hartin
Luke Derrick
My name is Lucy Clark and I am a Year
My name is Charlotte Hartin and I am
Luke Derrick is a second year Master of
10 student at Pymble Ladies’ College.
a Year 10 Student at Pymble Ladies’
Teaching student studying at Macquarie
Through various opportunities in
College. I love digging deeper into
University’s School of Education. A strong
Secondary School, I have developed an
research and learning more about
background in performance underpins
interest in research and investigating the
topics in depth. Together with Lucy, we
Luke’s teaching and was the focus of
world to gain an interest in academics.
developed our first original research
his English curriculum digital portfolio
In 2020, Charlotte and I developed our
project for Sokratis 2020 which was
that informed Luke’s contribution to this
own original research and, throughout
about the personality types of elite
paper. Luke is a keen advocate for making
that process, learned the importance of
Pymble athletes. It was a great learning
embodied pedagogy a routine practice in
students’ understanding of research and
experience to develop the research
classrooms and of finding ways to make
how to enter the world of academia.
question, create the questionnaire,
English lessons creative and engaging
I am an artistic gymnast and coach which
analyse the data, provide interpretations
whilst maintaining academic rigour.
means that a large area of my interest is
and draw conclusions. I enjoy rowing for
in the area of sport and how people can
Pymble and playing tennis.
better develop their sporting skills.
LUCY CLARK YEAR 10 STUDENT
CHARLOTTE HARTIN YEAR 10 STUDENT
LUKE DERRICK EDUCATION STUDENT MACQUARIE UNIVERSITY
Pymble Ladies’ College
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The Primary/Junior School to Middle School transition A review of the transition processes at Pymble Ladies’ College BY MARIEL LOMBARD
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Illuminate Research and Innovation
The purpose of this paper is to
They may also feel increasingly
review the effectiveness of transition
vulnerable and self-conscious as they
processes in place for Year 7 students
develop emotionally and physically. In
at Pymble Ladies’ College as they start
the context of this change, whilst primary
in secondary (Middle) school, and to
school can often represent a small,
provide recommendations to refine
intimate educational context, the move
the current programs and activities.
to a bigger school environment can
After providing a brief overview of the
mean a loss of individual attention and a
contemporary conceptual context as it
feeling of being lost within the crowd.
relates to transition programs, the paper will examine feedback collected from
Research around the transition
student focus groups and surveys on
experiences of young people has been
the main transition activities in place at
extensive, particularly with regard to
Pymble. Finally, the paper will summarise
the impact that these may have on
key recommendations for improvement
educational outcomes and student
based on the literature and student
wellbeing. Australian and international
feedback.
research has revealed a distinct ‘dip’ in educational outcomes during the
BACKGROUND: THE CONTEMPORARY CONCEPTUAL CONTEXT OF PRIMARY TO SECONDARY SCHOOL TRANSITION PROGRAMS
transition from primary to secondary school (McGee et al, 2003; Serbin et al, 2013). According to McGee et al. (2003), there is a strong correlation
The transition from primary to secondary school is a significant event during a young person’s educational journey. The move to secondary school requires students to make a substantial adjustment to their educational setting. This means adjusting to new surroundings, new teachers and new peers, learning new rules and routines, and understanding new ways of learning. It also means adjusting to a disruption of their social network (Education Review Office, New Zealand Government 2016). The move to secondary school also coincides with important social, emotional, physical and physiological developments for young adolescents (Wenden, 2015). As young
between the extent to which students experience difficulty following transition and the likelihood of young people becoming disengaged with education. In research commissioned by the Victorian Department of Education (2016), the researchers found that academic outcomes and engagement with school decline after students transition to secondary school. Whilst transitions occur at different ages in different countries, the researchers found that the same dip could be observed in cases from a range of international educational systems, suggesting that the change itself is more significant than the age of transition.
people begin to question and to define their identity separate to that of their parents, the need to belong and to be accepted by their peers increases. Pymble Ladies’ College
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The Primary/Junior School to Middle School transition
Furthermore, in a longitudinal study of
had coped with formal school concerns.
by many students. Successful transition
more than 2,000 students in the West of
In comparison, peer concerns had a
is more likely to occur when schools
Scotland, West et al. (2010) found that
significant impact on self-esteem in the
promote relationships, personalisation,
the impact of the primary to secondary
earlier stages of secondary school and on care and autonomy, and when primary
transition extends beyond immediate
the long-term consequences of mental
and secondary schools collaborate on
post-transition anxieties to longer-
health. The researchers concluded that
transition activities (Wenden, 2015).
term effects on student wellbeing and
the importance of a positive experience
These transition activities may include
learning. The researchers used surveys
for students transitioning from primary to
school visits, orientation and induction
of the same randomised group of
secondary could not be underestimated,
activities, information exchange and
students at ages 11 (primary), 13 and 15
and that transition programs need to
record keeping.
(secondary) and 18/19 (post-secondary),
focus on both formal and informal
as well as surveys of their parents and
school systems.
teachers. Accounting for independent
According to the New Zealand Government Education Review Office
This idea is echoed in the Victorian DET
(2016), the responsibility for transition
Middle Years Transitions Framework
processes must be attributed to both
(MYTF, 2016) which outlines three key
primary and secondary schools; the
elements needed for successful school
former being responsible for preparing
transitions. These include:
students academically and socially and
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Planning for learning continuity,
sharing information, and the latter being
(i.e. self-esteem, depression and anti-
differentiation, progression and
responsible for the culture of the school
social behaviour) across the years. In their
engagement,
and how well it welcomes and supports
variables such as socio-demographic, family and personal attributes as well as pre-secondary experiences, the researchers were able to track the impact of transitional school and peer concerns on academic attainment and wellbeing
study, the researchers divided transition
2
and
processes into two separate dimensions – the formal school system (i.e. factors such as the size of the school, the daily routine and timetable, and the amount of work) and the informal social system (i.e. peer relationships and friendships). They argued that to analyse transition experiences, it is essential to understand the transition as a dual navigation through both formal and informal systems. This means that students could potentially be successful in one dimension, but not in the other. Both systems, however,
Facilitating institutional adjustment;
3
Supporting students’ social adjustment.
students. Transition programs need to go beyond simply developing orientation processes for students to become familiar with the school’s environment, personnel and programs.
According to the MYTF, whilst social orientation is generally well-handled by
Whilst the processes and transition
schools, this is not always the case for
activities in place can vary from school to
academic orientation. This is primarily
school, the desired outcomes are largely
due to the lack of sharing of curriculum
the same. There is some consensus
information, teaching programs and
in the literature on the definition of
pedagogy between primary and
‘successful’ transition. This includes the
secondary schools, and the differing
development of new friendships, new
teaching expectations.
confidence and self-esteem, a feeling of being settled and accustomed to new
contribute to the long-term effects of
Primary and secondary curriculum
routines, engagement in learning, a sense
transition on wellbeing and learning
teams are rarely part of transition
of school belonging and the experience
outcomes. For instance, the researchers
support activities. McGee at al. (2003)
of a continuous curriculum between
found that how well students got on with
suggest that the lack of collaboration
schools (Evangelou et al. 2008; Measor
each other following transition had little
between primary and secondary
and Woods 1984; Wenden 2014).
impact on the educational attainment in
schools is largely responsible for the
the long run compared to how well they
educational discontinuity experienced
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Illuminate Research and Innovation
“Successful transition is more likely to occur when schools promote relationships, personalisation, care and autonomy” WENDEN, 2015
A DISCUSSION OF THE TRANSITION ACTIVITIES AND PROGRAMS AT PYMBLE LADIES’ COLLEGE Over the course of Terms 1 and 2, 2020,
The focus groups met a number of times
• Finding classrooms and being on time
students from the 2020 cohort of Year
for an informal conversation with the
to class – this was again identified by all
7 students at Pymble Ladies’ College
Head of Transition – Middle School, and
groups. Whilst the challenge of physical
were selectively invited to take part in
students were encouraged to be open
orientation was limited to the first week
three focus groups. The students were
and constructive in their feedback. They
of their transition, the students felt that
purposefully selected to reflect the range
were made aware that the purpose of the
this presented an additional challenge
of backgrounds of Pymble students. The
focus groups was to review and refine
to navigate.
first focus group, which will be referred
the current programs in place.
to as the ‘Junior School Focus Group’,
• The amount of new students in the secondary school and the fear of getting
was made up of seven students who
Students were first asked to identify
had transitioned from Pymble’s Junior
the key challenges encountered while
School, with students starting at the
transitioning from primary school to the
school at various entry points (i.e. Year 2,
Middle School. After some discussion,
Year 4 and Year 5). The second and third
five key concerns emerged; the first two
focus groups, which will be referred to as
of which were shared by all focus groups:
the ‘Non-Junior School Focus Groups’,
• Managing the work load – both
consisted of ten students randomly
known and had a sense of belonging,
students from the Junior School and
selected to include a mix of backgrounds
to a new environment with hundreds of
those who were new to Pymble felt
(i.e. students coming from overseas,
students and teachers.
that the jump from having very little
Boarders and students coming from
homework in primary school to having
Sydney-based primary schools).
some every night from a range of subjects was a big change from what they had known. This was intensified by having assessments and homework tasks across ten subjects.
‘lost in the crowd’ – this challenge was identified by students coming from the Junior School and was expressed as a sense of loss. Students reported feeling like they had moved away from an intimate environment where they felt
• Making friends – both non-Junior School focus groups identified friendships as a key challenge to their transition. For some students, leaving their primary school friends and needing to make new connections required some adjustment. Pymble Ladies’ College
13
The Primary/Junior School to Middle School transition
• The challenge of learning continuation – during one of the non-Junior School focus group discussions, students spoke about the challenge of learning continuation. Using the examples of Mathematics and Languages, students talked about the
1. Preparation Taste of the Middle School – Students in Year 6 in Pymble’s Junior School (154 students in 2019) take part in an extensive program of activities called ‘Taste of the Middle School’. The program is made
and any insight into what secondary school might look like, but noted that at times when reference was made to life in the secondary school, it gave the impression that Year 7 would be very strict.
up of eight events, ranging from an
Primary School pre-transition
opportunity to meet the Principal and key
preparation activities – Whilst for
staff, two parent information sessions, a
the Junior School students, transition
combined Chapel service with the Year 7
preparation involved frequent contact
cohort, attendance at the Secondary
with the secondary school campus and
Once students had identified the
Student Leaders’ Induction ceremony, a
staff, the pre-transition experiences of
main challenges faced during the first
lunchtime visit to the Secondary School,
the non-Junior School students (from 65
months of their transition to the Middle
participation in the Year 8 Kids Teaching
schools in 2020) varied significantly. For
School, they were then asked to provide
Kids program, and Links Day, which will
two students, transition activities at their
feedback on the activities and programs
be discussed in further detail below. The
separate primary schools involved a two-
which had been part of their transition
purpose of the program is to familiarise
week program in Term 4, during which
from primary to secondary school. These
students with the secondary campus and
they participated in a sample secondary
activities were grouped into four ‘phases’
to give them a ‘taste’ of what life will be
school experiences where they would
of transition (Delamont, 1991):
like in the secondary school.
move to different classrooms taught by
• Preparation – the primary school
When asked to share their thoughts
activities aimed at preparing students for
on the activities, the Junior School
the transition
focus group spoke positively of the
range of abilities within the classes and the fear of being ‘behind’ their peers when presented with topics they had not covered in their primary schools.
• Transfer - activities and communication opportunities to visit the secondary school. They particularly loved the by the secondary school prior to students’ start in Year 7 • Induction - orientation activities at the start of Year 7, and;
experience of visiting the Conde Library once or twice in Term 4 of Year 6 to borrow books and suggested that there should be more informal opportunities
a number of Year 6 teachers. Students were encouraged to carry their bags with them and received homework from a range of their ‘new’ subjects. The idea of increasing homework was discussed by another student who explained that at her school, students were given homework more frequently in the last term of school and that this helped her to adjust to the feel of Year 7.
• Consolidation - the merging of
like these to access the secondary
transition activities into the school’s
campus. Despite their participation in the
For other students, transition activities
overall learning and wellbeing programs.
various events, the students noted that
were limited to one day at a nearby
their familiarity with the campus was still The students’ feedback is explored below and follows a brief explanation of each activity and/or program.
secondary school, or informal quite vague and that by the start of Year 7, conversations within their primary school. they were still unsure of finding their way One student from a small country town around the school. They also spoke about the informal transition preparation provided by their Year 6 teachers who spoke to them in class about what they could expect from Year 7. They loved these conversations
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Illuminate Research and Innovation
explained that given the very small numbers in the adjacent primary and secondary schools, Year 6 students were allowed to sit in the secondary area for two days and had the opportunity to experience new subjects such as Food Technology.
Given the large range of pre-transition experiences, a discussion on the efficacy of activities within these schools remains outside the scope of this paper. What is evident, however, is that the amount of pre-transition preparation for students from external primary schools can vary significantly, from minimal preparation to more effective and thorough preparation. With Links Day being the only common pre-transition activity for all students, there is added impetus in ensuring that transition activities at Pymble are focused largely at reducing the gap between Junior School and non-Junior School students, and supporting all students to successfully navigate the transition.
Recommendations for Pymble’s Junior School:
2. Transfer Links Day – As part of the ‘Taste of the Middle School’, Junior School students participate in Links Day – a day which brings together all students expecting to start Year 7 at Pymble the following year. Throughout the day, Year 6 students from a range of primary schools, in addition to Year 6 students from the Junior School, take part in taster lessons and Peer Support activities. For all focus groups, Links Day was the highlight of their transition activities while in Year 6. They appreciated having a taster of what lessons might be like and meeting teachers, as well as being able to tour the school. The most important element of the day according to all three groups was meeting their peers and
• Prepare students for an increase in
Links Day is a significant event for Year
making new connections. A number of
class/homework whilst students are still
6 students as it is the first time the two
the girls spoke about the connections
in a familiar environment
groups are brought together and share
they had made with other students and
a common experience. Yet, whilst the
• Develop small group workshops in
explained how they had exchanged
day allows all students to experience
the Junior School led by current Year 7
phone numbers and shared their social
the same transition preparation, it is
students with the aim of:
media accounts at the end of the day.
experienced differently by each group.
One non-Junior School student shared
For the non-Junior School students,
that, as a result of the connections made
the day can reveal a difference in the
at Links Day, she was able to meet with
level of confidence between students,
those students again at the Garden
with students from the Junior School
Party later in the year. Whilst students
often in large groups and confident in
commented positively on the value
their surroundings. For the non-Junior
of meeting the Year 9 Peer Support
School students, many of whom are
Leaders, they were enthusiastic about
the only student from their primary
for Year 6 students to attend class
the possibility of also having an additional
school, the day can be an exciting yet
showcases from various subject
connection with the existing Year 7
daunting experience. This is all the more
areas in order to visit the secondary
students. This has been a challenge in
acute for those who come from small
campus and increase familiarity with
previous years due to the need to have a
primary schools in remote, regional or
the campus
year group off campus on an excursion
international locations.
• Discussing with Year 6 students their feelings of moving to secondary school, correct any untruths, provide tips, strategies and reassurance • Introducing staff from the Middle School • Provide more informal opportunities
in order to have the physical space to welcome Year 6 students into the Middle School classrooms. Pymble Ladies’ College
15
The Primary/Junior School to Middle School transition
Handover from Junior School to Middle School – Over the course of Term 4, the Junior School and Middle School at Pymble work together to exchange student data and information. This includes the identification of vulnerable students and specific support needs. The Learning Support and Counselling teams join with staff from the Middle School Leadership team to meet with staff leaders from the Junior School as part of the Year 6 to Year 7 handover. Academically, secondary school teachers are provided with information on their students’ academic backgrounds with a range of data including NAPLAN and Allwell testing results provided through an online tool. This is used to ensure that student needs, skills and strengths are identified and supported as they transition to the secondary school. Furthermore, in the first few weeks of Term 1, the Learning Support and Middle School teams share important updates relating to specific support strategies with the class teachers of a range of students. These measures help to ensure a level of educational and support continuity. From an academic perspective, teachers are able to access some key information on non-Junior School students’ numeracy and literacy levels (through NAPLAN and Allwell data). However, more specific information regarding their ability to be organised and to access the learning, as well as their feelings around transition, are harder to come across due to the challenge in communicating directly with more than 60 schools. Moreover, the continuity of curriculum, given the diverse range of primary schools which 16
Illuminate Research and Innovation
feed into Pymble’s Year 7 cohort, is more difficult to navigate. As one student from the non-Junior School focus group articulated, the difference in topics covered between primary schools made some subjects particularly challenging. For her, Mathematics was a difficult transition and, whilst she felt confident in some areas, in others, she felt that her peers had covered topics that she had not previously learned. Another student commented that in her language subject, whilst her teacher had suggested that it
3. Induction Connections Week – during their first week in the Middle School, Year 7 students take part in a four-day Connections Week. The purpose of the program is to provide students with a range of opportunities to make new connections with their peers and teachers, learn about their new routines and set themselves up for their learning. The week can perhaps best be summarised in three key goals:
survey giving feedback on various aspects of the week. The results showed that students were largely positive about the transition activities, with more than 80 per cent of the 142 respondents providing a rating of Good (4/5) or Excellent (5/5). Students rated social activities highest with Connect time and Peer Support sessions receiving the most positive feedback. When asked to provide suggestions on how the day could be improved, the suggestions which appeared most frequently related
would be a fresh start for all students, it
1 Creating connections – students
to the need for more touring of the
was apparent that some students came
spend the large majority of their time
school campus and a desire for more
with years of practice in the language.
completing activities in their Connect
opportunities to connect with others
Whether the students themselves felt
group of approximately 16 students.
outside of their Connect group. Whilst
confident in that language was a different
This group is led by a range of leaders
students valued spending some time with
story, but the impression it gave others
for different activities. This ranges from
their Connect groups, many suggested
was that there were significant differences
their Connect teacher and Head of Year,
that they would have preferred more
in starting points.
to Year 10 Peer Support Leaders and
varied options in order to meet others
House Prefects.
outside their Connect or House group.
Recommendations:
2 Preparing students for their new
• Explore the possibility of developing
routine – connect groups meet
a buddy program where Junior School
numerous times over the course of
students would be buddied with Year 6
the four days for organisation sessions.
non-Junior School students in Terms 3
During this time, they are taken through
and 4 of Year 6. This would support the
their timetables, shown how to use their
transition of new students to the College,
lockers and diaries, and are explained the
provide an immediate connection
school rules and code of conduct.
between both groups particularly at
Interestingly, whilst students appreciated having four days of orientation, many suggested that they were ready to start lessons earlier. One student suggested that a gradual approach to lessons could be an alternative. Having experienced a transition to online learning during the pandemic, students used this (i.e. having three, then four, then five lessons
3 Setting up for their learning – during
a day over three days) as an example
the four days, students take part in a
of a strategy that could support Year 7
range of rotational orientation activities.
students to transition to full time lessons.
The aims of these sessions are to help
• Develop the handover of information
Data from the survey did not identify
students set up their devices, connect
for non-Junior School students. This
whether students had come from the
to the school network, understand how
could include, for instance, a survey to
Junior School or from an external
to use the library and discuss how to
be completed by external Year 6 students
primary school. For future surveys, this
manage their learning.
information could provide greater insight
Links Day, and build leadership skills and awareness for Junior school students as they support their peers.
prior to their commencement which provides greater understanding around
Immediately following Connections
their worries, needs and expectations of
Week in the year of the study, Year 7
secondary school.
students were asked to complete a
into the efficacy of the Connections Week activities for each group and their specific needs. Pymble Ladies’ College
17
The Primary/Junior School to Middle School transition
Recommendations:
4. Consolidation
• During Connections Week:
Ongoing transition activities throughout
• provide additional opportunities for school tours • provide more opportunities for simple connection time rather than back-to-back task-based activities
Year 7 – Throughout the year, there are a range of activities organised as part of ongoing transition activities. These include the Peer Support program, the Year 7 Camp, a Wellbeing Day involving a range of outdoor activities at a nearby
• Shorten the duration of Connections
sport and recreation centre, after school
Week and provide a gradual increase of
homework help offered by the Learning
lessons per day
Support staff, and weekly lunchtime social
• Encourage teachers to create a seating activities run by the Year 12 Prefects with plan in the first few weeks to ensure that the aim to facilitate social connections. Junior School students are mixed with
Attendance at the latter can vary
non-Junior School students and are
significantly with food-based and physical
encouraged to make new connections.
activities rating most popular and bringing
This is also a way for students to
in a wider range of students. In general,
remember the names of their peers
however, these activities tend to attract a
more easily
higher proportion of non-Junior School
• Encourage teachers to provide additional time for students to meet their classmates and take part in some starter activities rather than jumping straight into lessons
students. Whilst one non-Junior School student noted that she had met some of her closest friends at the organised activities, she suggested that it could be
feedback that the timing of the activity was difficult for some students given after school co-curricular commitments, the timing was changed to lunchtimes, with no change in attendance rates. Whilst parent communication with the Middle School team indicated a need for assistance with skills such as time management, organisation, planning and general homework questions, students were more reluctant to take up the opportunity. When the homework help session went online during the period of isolation due to the COVID-19 pandemic in early 2020, attendance continued to stay low. What this suggests is that whilst the need for such resources exists, as evidenced by parent and teacher communication, Year 7 students are hesitant to take the step to ask for or access help. With regard to Peer Support activities and
student suggested that perhaps one
the Year 7 Wellbeing Day, the student
way to increase attendance would be to
feedback was overwhelmingly positive.
encourage students to come with their
All focus groups spoke favourably of Peer
friends or to organise a special ‘invite
Support opportunities, although some
a new friend’ event. The idea amongst
students noted that the quality of Peer
some students, particularly Junior School
Support was highly dependent on the
students, she suggested, was that the
Year 10 leaders and the effort they put
lunchtime activities were for students
into organising sessions as well as their
who may not have made connections
leadership skills and confidence. The off-
yet and that Junior School students,
site Wellbeing Day which took place in
therefore, “probably didn’t need it”.
mid Term 1 received the most favourable
homework help session has similarly been inconsistent despite changes to accommodate student times. During the first part of Term 1, targeted homework help for Year 7 was run after school, Illuminate Research and Innovation
students in Years 8 to 11. Following
quite dauting to attend alone. Another
Attendance at the after school
18
in line with the resource offered to
feedback with students speaking of the enjoyment at having an opportunity to be social and to connect with one another outside the classroom.
Recommendation: • Provide in-house study skills workshops throughout Year 7 that support students to gradually learn the skills they need. This would be additional to the existing study skills incursion currently scheduled in the Year 7 program.
CONCLUSIONS The extensive range of activities and programs provided across both Year 6 and Year 7 at Pymble reflects a recognition of the impact of the transition experience on students’ wellbeing and academic outcomes. It also demonstrates an understanding of the need to have activities and programs which help students to navigate both the formal school system and the informal social system. The program captures the key components of transition for Junior School students. Further developments to the program could be explored in activities to better support the diverse range of new students. Whilst this paper has focused generally on Junior School and non-Junior School students, it acknowledges that there is room for more specific research on the range of experiences faced by students from the multitude of backgrounds, including Indigenous, international, CRICOS1, rural, and local contexts.
1 CRICOS (Commonwealth Register of Institutions and Courses for Overseas Students) refers to the government register of Australian education providers that enrol and teach overseas students studying in Australia on student visas.
References Delamont, S. (1991). The hit list and other horror stories: Sex roles and school transfer. The Sociological Review, 39(1), 238-259. Department of Education and Training, State Government of Victoria. (2016). Research and Background to Department of Education and Training (DET) Middle Years Transitions Framework. Retrieved 9 May, 2020, from https://www.education.vic.gov. au/Documents/school/principals/transition/ DETMiddleYearsTransitionsFramework_ BackgroundPaper.pdf. Education Review Office, New Zealand Government. (2016). Evaluation at a glance: Transitions from primary to secondary school. Retrieved 13 May, 2020, from https:// www.ero.govt.nz/publications/evaluationat-a-glance-transitions-from-primary-tosecondary-school/6-transition-from-primaryto-secondary-school/ Evangelou, M., Taggart, B., Sylva, K., Melhuish, E., Sammons, P. & Siraj-Blatchford, I. (2008). What makes a successful transition from primary to secondary school? Nottingham, United Kingdom: Department for Children Schools and Families. Retrieved 18 May, 2020, from https://ro.uow.edu.au/cgi/viewcontent. cgi?referer=http://scholar.google.com. au/&httpsredir=1&article=3431&context= sspapers McGee, C., Ward, R., Gibbons, J., & Harlow, A. (2003). Transition to secondary school: A literature review. Report to the Ministry of Education. Retrieved 9 May, 2020, from http:// www.educationcounts.govt.nz/publications/ schooling/5431 Measor, L., & Woods, P. (1984). Changing schools. Philadelphia, USA: Open University Press. Serbin, L., Stack, D., & Kingdon, D. (2013). Academic success across the transition from primary to secondary schooling among lower-income adolescents: Understanding the effects of family resources and gender. Journal of Youth and Adolescence, 42(9), 1331- 1347. Wenden, E. J. (2015). Rising to the challenge: Exploring the transition from primary to secondary education in a Western Australian school. Retrieved 17 May, 2020, from https:// ro.ecu.edu.au/theses/1714. West, P., Sweeting, H., & Young, R. (2010). Transition matters: pupils’ experiences of the primary–secondary school transition in the West of Scotland and consequences for well-being and attainment. Research Papers in Education, 25:1, 21-50.
Pymble Ladies’ College
19
The place of play in the Secondary English classroom A conversation between Mathilda Shephard, Macquarie University Practicum Student and Justine Hodgson, English Faculty, Pymble Ladies’ College. BY MATHILDA SHEPHARD AND JUSTINE HODGSON Sarah Loch (Editor): I invited Justine
In their article, Justine and Mathilda
Hodgson of the English Faculty and her
reflect on the role of play in the context
final-year practicum student, Mathilda
of a secondary classroom, its potential
Shephard from Macquarie University, to
for enhancing student wellbeing, and
contribute to Illuminate as I observed
its impact on the teaching experience.
that what they were working on in their
Justine and Mathilda chose to
Year 7 class aligned with important
collaborate on this article via the platform
pedagogical research relating to the
of an interview format as they felt this
power of play in enhancing student
would effectively mirror their working
wellbeing and learning. Mathilda visited
processes whereby rich conversations
the Pymble Out of School Hours Care
emerged through ongoing observation
(OSHC) Centre with me one afternoon
and discussions. One educator/author
and was so inspired by seeing children
poses a critical question designed to
involved in the experiential learning that
prompt reflective thought and, through
play affords, that she wondered how this
the tool of an online Google Doc, the
element of learning could be integrated
other educator/author offers a response.
into the secondary English classroom.
The article also includes text from emails
Discussions with Justine emerged as to
which were part of the editorial process
how the pair could enhance the students’ and the inclusion of a third voice, Sarah, study of Susan Cooper’s novel, King
the editor of the journal. This evokes the
of Shadows (1999). They committed
truly collaborative nature of education –
to incorporating aspects of play and
where educators seek one another out
student-directed learning and drama
and come together to share ideas.
pedagogy into the unit.
20
Illuminate Research and Innovation
Justine Hodgson: In what ways did your integration of playfulness in the secondary English classroom enhance student learning and wellbeing (as the two are inherently connected)? Mathilda Shephard: I felt that the integration of playfulness in our Year 7 novel study of Susan Cooper’s King of Shadows (1999) significantly increased my capacity to support students’ learning and, simultaneously, wellbeing. Play facilitated greater opportunities for a fun, informal and student-directed exploration of the power dynamics in Shakespeare’s A Midsummer Night’s Dream and, in turn, Nat’s negotiation of power in King of Shadows as he embodies the character of Puck. Having visited the educators at Pymble’s OSHC Centre and discussed the role of play in early childhood education, I began to consider the significance of play for adolescents and the possibility of incorporating play into the teaching of secondary English.
“ How can learning through play in the secondary context enhance students’ experiences?”
1
Research shows us that play is essential
Yet, play remains marginalised in
to the physical, intellectual (Piaget &
secondary educational discourse and
significance in secondary education
Inhelder, 1966) and socioemotional
policy due to the demands of high-stakes
when qualitative and quantitative
development of children (Vygotsky,
testing, standardised assessments and
data proves its efficiency for
1929; Dewey, 1938). While Plato (427-
other factors (Middleton & Curwood
childhood learning?
348 B.C.) first proposed play (paidia) to
2020; Miller & Almon 2009). As such,
be intrinsic to children’s (paides) social
there exists a critical divide between
development (D’Angous 2013, p. 239),
the learning methods that have been
developmental psychologist, Vygostky
scholastically validated and what is
(1993/1978, p. 104), affirmed play as the
actually practised in schools (King-Sears,
very medium through which children
2001). With this in mind, I considered two
learn: “The child moves forward through
driving questions:
play activity… [it] does not die away but permeates… attitudes towards reality”. Contemporary researcher, Villasin (2020, p. 12), reinforces that “play is natural, play is foundational, and… children learn best through [it]”.
22
Illuminate Research and Innovation
2
When and why did play lose its
How could I integrate play in the secondary English classroom to enhance learning and wellbeing in a way that was practical, effective and supported by peer-reviewed evidence (Harris, 2016)?
The place of play in the Secondary English classroom
Similar to the preservice teachers that
and special effects, costuming and
Mathilda: How do you integrate an
Villasin (2020, p. 345) interviewed,
dialogue. Drama workshops, including
element of playfulness into your
I needed to “shift [my] ideas about
embodiment activities like ‘walking in
own teaching?
planning” and move towards creating
role’, functioned to increase students’
learning experiences and environments
confidence and their understanding of
Justine: I have always been acutely
alongside my students which nurture
their characters’ motivations, flaws, status
aware of the connection that exists
wellbeing and differentiated learning.
and role in the play (Dutton & Rushton,
between theatre and English, particularly
While initially unsure as to how and
2018). This process of embodiment – the
as many of the texts taught across
whether play was viable in a secondary
“integration of the physical or biological
Stages 4, 5 and 6 of English feature a
English classroom, a conversation with
body and the phenomenal experiential
dramatic focus, including Shakespeare’s
Justine showed me that it was indeed
body” – has gained currency as a
plays, as well as contemporary dramatic
possible to link theory to practice
theoretical, practical and methodological
literature produced across differing
through free-choice play activities and
concept in educational research as it
cultural contexts. We often encourage
drama pedagogy (Dutton, 2017).
enhances a student’s creativity, problem-
students to bring to life dramatic texts
solving, self-regulation and social skills
through the engagement of performance
Drama is a powerful tool for the
(Bodrova & Leong, 2007; Krafft & Berk,
processes as this builds confidence
development of adolescents’ social,
1998; Varela, Thompson & Rosch, 1991).
and can promote greater self-efficacy,
emotional, moral and intellectual
Student testimonials and the laughter
adaptability and, therefore, resilience. As
development as it allows for play within
heard between the Year 7 students
Stinson and Freebody (2006, p. 27) state,
structure (Lambert et al., 2019). Dutton
also show us that embodiment and
“involving students in the negotiating
and Rushton (2018) point to drama-
performance processes are enjoyable
and co-constructing of a process drama
based pedagogy as an effective teaching
and fun as they were less inhibited to
allows them insights into the relationship
and learning tool to develop student
think creatively and independently
between context and language, and
identity and their exploration of identity
(Lytle 1942; Everett, 2007).
enables them to link the language they
texts. Using a dramatic method to study
are learning with their own lives and with
Shakespeare, in particular, has been
With this in mind, I believe that the
seen to increase student enthusiasm
integration of play into my lessons
and language development (Dunn &
for Year 7 was incredibly effective and
I, too, believe that this is a powerful
Stinson, 2011; Ewing, 2012), and deepen
heightened my ability to support both
vehicle for us to enhance the connection
knowledge of plot and humour, and
student learning and wellbeing. Play
that exists between the outside world
the world around them”.
provoke a more meaningful interpretation not only belongs to children but to
and the classroom (Maley & Duff, 1978)
of characters.
our teenagers. It remains foundational
and, therefore, build on students’
to true creativity, experimentation and
knowledge of self and others which
Drawing from Justine’s experience, we
independent thinking, and I am excited
increases empathy. Playfulness exists
decided to facilitate a drama activity
to continue to draw on play pedagogy in
in differing ways in the context of the
which required students to re-enact
the future (Lytle, 1942).
English classroom and I love how the
a chosen scene from A Midsummer
term itself can transform our knowledge
Night’s Dream and perform it as part of
of students’ learning experiences. For
a class production (Lee, Patall, Cawthon
example, when analysing texts, the
& Steingut, 2015). Students were given
facilitation of open-ended questions
almost total freedom in representing
is important as this encourages a
the power dynamics within their scene
playfulness of thought as multiple and
using props, scene backdrops, music
varied perspectives can emerge. Pymble Ladies’ College
23
The place of play in the Secondary English classroom
As Badger and Thomas (1991, p. 2) reflect, Badger and Thomas (1991, p. 2) reflecting
found that if students are able to role-
“educators and philosophers interested
on Langer’s research, articulate the
play and negotiate meaning through a
in the reading process have refined and
additional process of “being in and
collaborative dynamic, their capacity to
expanded the ideas and concepts about
stepping out”. They state that “readers
interpret texts independently reveals an
reading and thinking”. They highlight
relate the text to their own knowledge
authentic understanding and therefore,
that “two main themes have emerged
and experiences. Readers of fiction use
significant growth is enabled. The act of
from this research: Readers assume
what they read in the text to reflect on
experimenting highlights the importance
constantly shifting attitudes while trying
their own lives, on the lives of others, or
of valuing differing perspectives and it is
to understand any text. Literature is
on the human condition in general”. They
this process that enables students to feel
a powerful context for teaching and
establish that the representation of this is
confident and empowered.
learning critical thought”.
also evident in non-fiction texts, whereby “readers use the text information to
In the introductory drama workshops,
A range of actions and interactions
rethink information they already know”
we encouraged students to experiment
occur during the reading process. Langer
and describe this as “stepping out and
with gesture and movement in order
(1989, p. 1) describes this as “being out
going beyond”, explaining that this is
to embody the emotional landscape
and stepping back into”. This means that
when “readers distance themselves from
of a character. The reason I wanted
readers use a combination of their own
the text and assume a critical stance,
them to experiment with interacting
backgrounds and experiences, as well
judging the text and relating it to other
via differing levels was to signify how
as information from the text, to make a
texts or experiences”. Our goal to create
power-plays and tension can emerge
connection with the author’s words. For
critical readers means we assist students
through the incorporation of gestures
effective reading and understanding, it
to raise a variety of interpretations
alongside spoken language. Berry and
is vital that readers connect with what
amongst endless possibilities. Badger
Brown (2019, p. 1) state that “during the
the author means through building their
and Thomas (1991, p. 2) reflect that “in
process of acting, actors have to embody
own relationship with the character,
their view, literary thinking is a complex
the characters that they are portraying
plot, setting and other elements. This helps readers to make their own sense
reasoning process that involves analysing, by changing their vocal and gestural features to match standard conceptions synthesising, reformulating, linking, and
of the author’s meaning. Fiction texts
generalising ideas”.
are especially important in this domain
of characters”. Their findings reveal that “vocal gesturing during character
as they encourage the reader to use
I have often applied these reading
portrayal … demonstrate that actors
every bit of information to think more
processes to the nature of role-play in
reliably manipulate prosodic cues in
expansively about issues including
the classroom. By providing students
a contrastive manner to differentiate
perspective, motivation and causality.
with opportunities to experiment with
characters based on their personality
This reading process was evident in our
differing dramatic approaches, their
traits” (p. 1). I find this research helpful
Year 7 students’ exploration of scenes as
shared collaborative experiences can
in the context of reflecting on the
the collaborative process of constructing
lead to their development of a broader
importance of play in a secondary setting.
a performance in itself allowed for each
understanding of self and others and
Berry and Brown (2019) reveal that
member of the ensemble to deconstruct,
a platform for open-ended, student-
playfulness in itself, through experimental
question and create, thus enabling all
driven thinking emerges. The art of
processes, can create a more complex
of these processes to emerge in an
being playful in itself can lead to an
interpretation of character and I see
interactive and playful way.
openness of thought, whereby students
this as the link to developing students’
are encouraged to take positive risks
understanding of self and others.
with their thinking and connect this to their broader experiences. I have 24
Illuminate Research and Innovation
The psychology of enacting a
The collaborative, kinaesthetic and
my previous experience with Year 7
character also contributes to student
student-centred nature of this approach
and support from Justine that I felt
empathy and this can be seen through
also facilitated greater opportunities
comfortable to loosen task guidelines
creative writing as well, such as when
for me to differentiate learning to
and structure to allow for more freedom
students experiment with their written
students’ unique needs and styles
when students were preparing their
compositions. Drawing on the notion
as it allowed for “multiple means of
chosen scenes.
of playfulness allows scope for flexibility
engagement… representation…” and
as students are more likely to reflect on
“action and expression” in accordance
Due to prior experience and rapport with
personal experiences, or experiment
with the Universal Design of Learning
me, students had greater confidence in
with differing perspectives, when relaxed
(UDL) Guidelines (CAST, 2018, p. 3).
completing the task. Although they were
with their writing processes. This, too,
It also allowed for “peer-assisted
initially confronted when I told them “just
can encourage students to take positive
learning” whereby students could work
have fun with it!” – with several students
experimental risks with their writing and
comfortably within their “zone of proximal asking me, “are you sure we can evolve development” as well as be extended and/ the scene?” and “are we allowed to do…”
promote growth through the nurturing of
their individualism and cultural expression. or supported by “more knowledgeable
– they soon embraced the opportunity
other[s]” in the group (Vygotsky, 1980).
to play with enthusiasm and ease. Seeing
Justine: How did seeing students draw
Piaget and Inhelder’s (1966) theory of
them become invested in the project
on the concept of play reaffirm your
cognitive development reinforces that
was exciting, fun and incredibly insightful,
understanding of its importance?
social learning incites moments of
and actively reaffirmed that play not only
‘cognitive conflict’ or ‘disequilibrium’
belongs in the context of early childhood
whereby students develop new mental
education but the English secondary
structures by accommodating to newly-
classroom. The integration of playfulness
assimilated information.
also amplifies the effectiveness of other
Mathilda: My educational philosophy has always recognised the importance of nurturing wellbeing and experiential learning through differentiated and
pedagogical strategies which aim to
student-directed activities, free-choice
Before commencing the drama activity,
place the student at the centre of their
and low-risk tasks which promote a love
I had already implemented a range
learning, and promote socioemotional
of learning and reduce unnecessary
of collaborative and student-centred
and cognitive development through
stress and anxiety. I strongly believe
tasks which scaffolded learning in
collaborative and experiential processes.
that wellbeing goes hand-in-hand with
accordance with the UDL model (CAST,
I thoroughly enjoyed experimenting
learning and is essential to providing
2018) and Piaget and Inhelder’s (1966)
with and gaining confidence using play
positive learning spaces and experiences.
accommodation/assimilation theory
pedagogy as a means to facilitate both
Throughout my time at Macquarie
whereby peer-assisted and social learning learning and wellbeing, and observed it to
University, prescribed readings and
promotes ‘disequilibrium’ and cognitive
be an effective tool for supporting and/or
assessments had asserted the role of
development. For instance, supported
extending socioemotional and cognitive
play and informal learning as undeniably
by small workshops on script-writing
development for my students.
important for socioemotional, mental
and storyboarding, small groups of Year
and personal development. Yet, it was
7 students were assigned a genre before
through my practicum at Pymble and my
devising their own story concepts, scripts
work with Justine, Sarah and Year 7 that
and storyboards. I also utilised See/
I acquired the practical tools and self-
Think/Wonder activities, Mentimetre.com
confidence to implement play in
discussion forums and class discussions
the classroom.
with open-ended questions to encourage independent thinking. It was because of Pymble Ladies’ College
25
“While we as teachers have curricular requirements to fulfil, we also have an obligation to support student wellbeing” Mathilda: What was your experience
autonomous and independent in their
Sarah: What were some of your most
working with a practicum teacher who
approach. I, therefore, valued Mathilda’s
memorable experiences using a
showed a desire to integrate playfulness
trust and acknowledgment of the impact
playful approach?
into the Year 7 novel study?
of this process as this enabled enriching learning experiences which enhanced
Mathilda and Justine: When reflecting
Justine: The whole process has been
students’ confidence, adaptability
on whether she enjoyed the project, one
really exciting as having Mathilda
and autonomy. It was wonderful to
student shared that “it was just really fun”
as a practicum teacher allowed for
see students motivated and engaged
with a smile, and we would have to agree
a meaningful reflection of my own
through their own learning choices
with her! We will always remember the
classroom practice. I have especially
and creative decisions. I am also very
laughter from the Year 7 students as they
valued Mathilda’s inquisitiveness
thankful to Mathilda for the way she
role-played their characters, designed
and her desire to enhance her own
embraced the opportunity to witness a
their backdrops and props, and prepared
teaching skills in order to nurture a
variety of students’ experiences across
their scenes for their rendition of A
playful learning environment, one that is
the College and bring her perceptive
Midsummer Night’s Dream. It was just
adaptable and flexible, where students
observations to our English classroom;
as fun to teach as it was as fun for the
are given differentiated and challenging
an enriching dialogue emerged and this
students to learn.
opportunities to become empowered
benefitted our skills as practitioners and
as learners. I also appreciated Mathilda’s
significantly enhanced student growth
trust in the process of freeing the
and enjoyment.
instructional parameters relating to the performance scenes we provided, as this meant students had to be more
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Illuminate Research and Innovation
The place of play in the Secondary English classroom
“What I saw processes that exist between the evolving between teacher mentor and practicum student you was a rich in exploring the role of play? space in which Sarah: What I saw evolving between you was a rich space in which you were you were both both learners and both teachers for one another. The third element in the teacher learners and mentor-practicum student relationship, both teachers for however, was the presence of our students and your joint focus to make one another.”
We will also always be grateful for the
Mathilda and Justine: What do you see
opportunity to experiment with the
as most valuable in the collaborative
role of play in the classroom and are both thankful to Sarah for suggesting we document it in a way that was also fun and playful. We reflected on ways we could better facilitate play and fun in the secondary classroom in a way that reduced the stress and anxiety of students, allowed for various levels of differentiation, creative and critical thinking, and developed the skills necessary for self-regulation for lifelong learning. It was a memorable and
the learning relevant for the students in
enlightening experience to discover
this class. The exploration of play was
and experiment with a pedagogy which
prompted by a visit Mathilda took with
facilitates all these aspects and produces
me to Pymble’s OSHC Centre after
such enthusiasm from students.
school one day. Through sharing stories with our OSHC Educators, Mathilda
We further reflected on the importance
quickly made a connection to her
of embedding play as essential to
English teaching and a desire to explore
our own learning, our own lives and
play in the context of the Year 7 class. It
wellbeing, and therefore, our approach to was wonderful when Justine affirmed teaching. If we are to encourage life-long
Mathilda’s enquiry as valid and important
learning and support students’ sense of
and encouraged the opportunity to delve
self and others to promote resilience
into play through the unit currently under
and wellbeing, we must provide freedom
preparation. The way in which Justine
within the structure; it must be fun and
did this was playful in itself and showed
enjoyable for it to be purposeful in the
a willingness to co-create and respond
minds of our students. While we as
flexibly to an offer. I noticed this allowed
teachers have curricular requirements
Mathilda to think broadly about play in
to fulfil, we also have an obligation to
the English classroom and to bring a
support student wellbeing (as well as
delight in being playful into her evolving
our own) through the implementation
pedagogical tool kit.
of play-pedagogy which reduces stress from learning and instead prioritises enjoyment, and therefore, meaningful learning. We hope that we continue to hear such laughter from our students in the future, and this experience has been pivotal in cultivating that expectation.
Pymble Ladies’ College
27
The place of play in the Secondary English classroom?
Student reflections: “We got to connect with a certain
“I absolutely loved this task as it gave us
character in a more meaningful way,
so much creative freedom in how we
looking from their viewpoint rather than
showed our character. It also showed us
an outsider’s. Performing with other
a greater insight into Shakespeare’s life
people gave me insight into the different
and his mind by showing his work and his
relationships with people within the
words in our language and on our terms.”
play, which reflected the connections
- Remy Meagher
between characters in the novel, King of Shadows.” - Allison Wang
“I also enjoyed creating our own backdrops and props for the play and
“We had to think about [the characters]
seeing it performed through different
on a physical and emotional level,
perspectives. I got to learn about the
responding to the other characters
characters and their personalities and
onstage, in character. Particularly, the
how they move, act and talk.”
characters’ power dynamics onstage,
- Talia Luo
depending on their social status or hierarchy in the play, were greatly
“Being an audience member was a great
focused on in the workshop we did.
experience and I loved watching my
This all assisted me in analysing King of
peers perform. It helped us imagine the
Shadows and the ‘Elizabethan period’
world of A Midsummer Night’s Dream.”
(16th century language) and increased
- Christiana Soo
my confidence when performing and thinking creatively.” - Erika Nakamaru
“This was a different and enjoyable experience as we got to think outside the box and produce our own plays.” - Ollisha Muthukuda
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Illuminate Research and Innovation
References Badger, E. & Thomas, B (1991). Open-ended questions in reading. Practical Assessment, Research & Evaluation, 3(4), 1–3. Berry, M. & Brown, S. (2019, May 13). Acting in action: Prosodic analysis of character portrayal during acting. Journal of Experimental Psychology. McCaster University: American Psychology Association. Bodrova, L. & Leong, D. (2008). Developing self-regulation in kindergarten can we keep all the crickets in the basket? Young Children, 63(2), 56–58. CAST (2018). Universal Design for Learning Guidelines version 2.2. Retrieved from http:// udlguidelines.cast.org. Cooper, S. (1999). King of Shadows. London: Penguin Books. D’Angour, A. (2013). Plato and play taking education seriously in ancient Greece. American Journal of Play, 5(3), 293-307. Dewey, J. (1938). Experience and education. New York: Touchtone. Dunn, J. & Stinson, M. (2011). Not without the art!! The importance of teacher artistry when applying drama as pedagogy for additional language learning. Research in Drama Education: The Journal of Applied Theatre and Performance, 16 (4), 617–633. https://doi.org/1 0.1080/13569783.2011.617110 Dutton, J. (2017). English teachers in the making: Portraits of pre-service teachers’ journeys to teaching (PhD Thesis, University of Sydney, Australia). Retrieved from http://hdl. handle.net/2123/17176. Dutton, J., & Rushton, K. (2018). Confirming identity using drama pedagogy: English teachers’ creative response to high-stakes literacy testing. English in Australia, 53(1), 5-14. Everett, L. (2007). Moving Bodies: Jacques Lecoq and Drama Education in Australia. NJ: Drama Australian Journal, 31(2), 73-82. Ewing, R. (2012). The imperative of an arts-led curriculum: Lessons from research. NJ: Drama Australia Journal, 36, 7-14. Harris, A. (2016). Creativity and education. London: Palgrave MacMillan. King-Sears, M. (2001). Three steps for gaining access to the general education curriculum for learners with disabilities. Intervention in School and Clinic, 37(2), 67–76. https://doi. org/10.1177/105345120103700201 Krafft, B. & Berk, L. (1998). Private speech in two preschools: Significance of open-ended activities and make believe play for verbal self-regulation. Early Childhood Research Quarterly, 13(4), 637–658. https://doi. org/10.1016/S0885-2006(99)80065-9 Lambert, K., Wright, P., Currie, J., & Pascoe, R. (2019). Embodiment and becoming in secondary drama classrooms: The effects of neoliberal education cultures on performances of self and of drama texts. Critical Studies in Education, 60(2), 149-167.
Langer, Judith. (1989). The process of understanding literature. Albany, NY: Center for the Learning and Teaching of Literature, State University of New York at Albany. Lee, B., Patall, E., Cawthon, S. & Steingut, R. (2015). The effect of drama-based pedagogy on Pre K–6 Outcomes: A meta-analysis of research from 1985 to 2012. Review of Educational Research, 85, 3–49. Lytle, C. (1942). The effectiveness of stage presentation as a supplement to classroom instruction in Shakespearean drama in the secondary schools. London: ProQuest Dissertations and Theses. Maley, A., & Duff, A. (1978). Drama techniques in language learning. Cambridge: Cambridge University Press. Middleton, M., & Curwood, J. (2020). A brave new world: Teachers’ conceptions of the value of creativity in the new Stage 6 English syllabus. Australian Journal of Language and Literacy, 43(2), 167-176. Miller, E., & Almon, J. (2009). Crisis in the kindergarten: Why children need to play in school. The Education Digest, 75(1), 42–5. Piaget, J., & Inhelder, B. (1966). The psychology of the child. New York: Basic Books. Stinson, M., & Freebody, K. (2006). The Dol Project: The Contributions of Process Drama to Improved Results in English Oral Communication. Youth Theatre Journal, 20(1), 27–41. https://doi.org/10.1080/08929092.200 6.10012585 Varela, F.J., Thompson, E. & Rosch. E. (1991). The embodied mind: Cognitive science and human experience. Cambridge, Mass.: MIT Press. Villasin, K. (2020). Play: A qualitative case study exploring play in the kindergarten classroom: A teacher’s perspective, a teacher’s practice, ProQuest Dissertations and Theses. Vygotsky, L. (1978). Mind in society. London: Harvard University Press. Vygotsky, L. (1980). Mind in society: The development of higher psychological processes. London: Harvard University Press.
Pymble Ladies’ College
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Out of their seats and asking great questions: Fostering critical thinking and cognitive wellbeing through Embodied Pedagogies BY DR JANET DUTTON (MACQUARIE UNIVERSITY), LUKE DERRICK (INITIAL TEACHER EDUCATION STUDENT MACQUARIE UNIVERSITY), DR KATHLEEN RUSHTON (UNIVERSITY OF SYDNEY) Critical thinking is at the core of most
As teachers we often find ourselves
intellectual activity that involves students
framing questions as a way to prompt
learning to recognise or develop an
critical thinking and develop cognitive
argument, use evidence in support
wellbeing. Most often these questions –
of that argument, draw reasoned
especially given the curriculum narrowing
conclusions, and use information to
pressure of high stakes testing contexts –
solve problems. Examples of critical
are answered in the spoken mode during
thinking skills are interpreting, analysing,
discussions or written mode through
evaluating, explaining, sequencing,
focus questions. They are usually asked
reasoning, comparing, questioning,
and answered with students seated at
inferring, hypothesising, appraising,
their desks … but … have you considered
testing and generalising.
using embodied pedagogies in your
(ACARA Australian Curriculum, 2014)
classroom?
Cognitive wellbeing is associated
Nguyen and Larson (2015) refer to
with achievement and success, how
embodied pedagogies as those which
information is processed and judgements invite “learning that joins body and are made, informed by motivation and
mind in a physical and mental act of
persistence to achieve and is important
knowledge construction’’ (p. 332). They
for attaining knowledge and experiencing describe three conceptual elements of positive learning.
embodied pedagogy that emphasise its
(NSW Government, n.d)
value for classroom contexts in all stages and subject areas:
30
Illuminate Research and Innovation
• bodily and spatial awareness of
To begin, we invite you to search
- No. Australia was wrong to conscript
sensation and movement
through the questions below and find
troops as 521 Australian lives were lost
one or more question that suits or
for ultimately very little gain and
could be adapted to your teaching
conscription infringes individual rights.
• unification of mind/body in learning • the body’s role as sociocultural context
area. Keep this question in mind as
in teaching (Nguyen and Larson, 2015,
you learn more about the possibilities
Geography
p. 332).
for embodied pedagogy.
Environmental laws need to be
In this article we offer a research-
PDHPE
informed justification for the implementation of embodied pedagogies
Should school uniforms be compulsory?
strengthened to remedy the loss of habitat being caused by land clearing. - Yes. The laws need to be reviewed
as normalised teaching practices and
- Yes. They offer consistency, shape
offer ‘Conscience Alley’ as an effective
equity and are cost effective.
embodied activity that can be used in
- No. They drive compliance, silence
your classroom tomorrow.
better education needs to be undertaken
individuality and are uncomfortable.
to ensure landowners are cognisant of
SO WHY EMPLOY EMBODIED PEDAGOGY?
Should athletes be allowed to use
Traditional classroom pedagogy often
performance enhancing drugs in sports?
Science
establishes a mind/body dichotomy with
- Yes. Athletes should be allowed to use
Should animals be used for testing
the body being ellipsed or subordinated
performance enhancing drugs. Many
of medicines, cosmetics and other
in the drive to focus on the functions
athletes are naturally taller, stronger
products?
of the mind. “Embodied pedagogy joins
or faster and athletes should be able
body and mind in a physical and mental
to make use of scientific advances to
act of knowledge construction” (Nguyen
enhance their competitiveness.
& Larsen, 2015, p. 331). “By highlighting elements of unified mind/body learning, critical theory, and constructivism one can draw a historical pedagogical trajectory moving from Dewey and Freire [unified action] to recent scholarship” (Nguyen & Larsen, 2015, p. 332). Embodied pedagogy involves inviting
and strengthened. - No. The current laws are adequate but
their responsibilities.
- Yes. Animals should be used for testing as it is a better option than testing on humans and these items need to be
- No. Athletes should not be allowed to
tested on a living being to ensure safety
use performance enhancing drugs as
before being sold to the public.
these substances give them an unfair advantage over other athletes who do not want to use potentially harmful substances on their bodies.
- No. Animals should not be tested on as they are living beings as well and we, as humans, should not be taking advantage of them, especially for non-essential
History
items such as cosmetics.
Should Australia have supported America
Mathematics
students out of their seats to engage in well planned learning activities that bring into play body, space and social context (Dutton & Rushton, 2018). These
and sent conscripted troops to serve in the Vietnam War?
approaches allow students to employ
- Yes. Australia was right to support a key
their senses – described as the ‘avenues
ally, America, and help the South
of knowledge’ by Dewey (1916, p. 147) –
Vietnamese troops against the Vietcong
and ‘feel’ knowledge, internalise it and
who aimed to spread communism into
commit it to memory’. (Nguyen & Larsen,
South Vietnam.
What is the easiest/fastest way to measure an irregular floor area in preparation for tiling? - Mathematical approach 1: calculate the floor space as full quadrilateral shapes and subtract irregular shapes.
2015, p. 332). Pymble Ladies’ College
31
Out of their seats and asking great questions
“ Embodied pedagogy involves inviting students out of their seats to engage in well planned learning activities” DUTTON & RUSHTON, 2018
- Mathematical approach 2: Divide the irregular shape up into regular polygons. Using measurements, find the area of each shape and add these areas together.
Languages Should young children be encouraged to be bi/multilingual?
What is Conscience Alley? Conscience Alley is a role play strategy used to identify different perspectives
- Yes. Research evidence shows the Creative Arts
on a topic and explore motivations/
benefits of learning more than one
individual intentions related to a question.
Do you think artists (Dance/Music/Art/
language. It supports familial connections
It involves a ‘questioner’ who is trying
Theatre) should be able to express their
and allows a complex, nuanced
to decide on their perspective on a
personal/political opinions through
world view.
challenging question. Often this question
their art?
- No. Young children should be
has a moral or ethical dimension
- Yes. Artists should be able to express
encouraged to develop skills only in the
but always the question is open and
any opinions they want through their art.
dominant language of the culture in
there is no one correct answer. The
change.
which they live. This will make it easier for ‘questioner’ takes on a role appropriate them to make friends and fit in at school. to the question context and walks down
- No. Artists should stay out of the
Having identified a question that might
progresses they are offered differing
political world. They should focus on
be framed in your classroom, how
perspectives by ‘speakers’ who represent
making artwork that is aesthetically
might embodied pedagogy invite your
the questioner’s conscience. An audience
pleasing.
students out of their seats as engaged,
of ‘thinkers’ observe the interactions
thinking learners?
and think critically about the range of
Art can be a powerful medium for social
English
a physical ‘alley’. As the ‘questioner’
perspectives that have been offered.
BRINGING EMBODIED PEDAGOGY INTO YOUR CLASSROOM
The Conscience Alley strategy involves
the instructions given by the more
Whilst embodied learning can look very
the following steps:
experienced stockmen?
differently according to discipline and
1.
Should the Man from Snowy River in Paterson’s poem have disobeyed
- Yes. It was a dangerous incline and there was significant risk to horse and rider. Hierarchies are important and the young should defer to experience voices. - No. The Man from Snowy River was a gifted rider, enjoyed risk taking behaviours, and was seeking to demonstrate his competence to the more experienced stockmen.
subject matter, we offer ‘Conscience Alley’ (Ewing & Simmons, 2016) as an embodied strategy that will work effectively across all stages and teaching areas.
The question is introduced, and are
students given time to think about/plan possible answers to the question.
2.
Select 8-10 students who form
two straight lines facing each other (4 students in each line) creating the edges of the ‘alley’.
3.
Assign each side of the alley the side
of the question they are supporting.
4.
The questioner stands at the
beginning of the alley and progressively walks down the alley. 32
Illuminate Research and Innovation
5.
The ‘questioner’ pauses at each
opposing set of students.
• the ‘thinkers’ sharing their
WORKED EXAMPLE
decision and justifying their choice. Which argument(s) were persuasive
The worked example below offers a
and why? Which arguments
snapshot of how Conscience Alley
their opinion on the subject matter.
needed stronger substantiation?
might work.
7.
Which argument(s) tossed up too
6.
The ‘speakers’ on each side give
When the ‘questioner’ has reached
the end of the alley they can:
many issues and did not sustain a focus? Because students have been
• provide an answer to the
assigned an argument card (thereby
question after hearing both sides of
taking on a role’) these discussions
the argument or
are less personal.
• articulate their feelings of
• ‘questioners’, ‘speakers’ and
difficulty/uncertainty if they are
‘thinkers’ identifying areas for
finding it difficult to choose an
additional research, fallacious
answer to the question.
arguments, missing/silenced
8. Follow up activities can include:
perspectives, contextual factors
Question: Should I/we be doing more towards diminishing our impact on global warming?
PREPARATION
1.
Pose questions to your classroom
about climate change. These questions should be of an exploratory nature and help students to critically analyse the issues. Questions such as:
shaping the perspectives (Choose 1
• Do you think global warming is
• the ‘questioner’ describing the
each run of conscience alley).
an issue for the world today?
impact the conscience alley has
• Any other activity suitable to your
• What research evidence supports/
had their personal perspective
context.
rejects this proposition
on the question (Was there alignment? Where/why? Were their disjunctions? Where/why?)
• Do you believe people have an obligation to do their part to prevent global warming? Why/Why not? Pymble Ladies’ College
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Out of their seats and asking great questions
• Do you think the governments
FOLLOW UP
• You may opt to run conscience alley as
should be held accountable for
10. The ‘questioner’ makes a decision
an impromptu activity rather than allow
a lack of action against global warming?’
2.
Assign students to two opposing
sides of the question.
and describes the extent to which the conscience alley has influenced their personal perspective on action relating to global warming. Before I thought/feel …. Now I think/feel …
3.
Students write one argument on
an argument card and teacher collects these cards.
11.
8-10 students selected to
be ‘speakers’.
their decision. Individual ‘thinkers’ can be
5.
One student selected to be the
‘questioner’ taking on the role of: • Prime Minister of Australia • Secondary school student • Political activist
their degree of certainty/confidence.
12.
‘Questioners’, ‘speakers’ and
on the issue/topic/scenario by interrogating the space between the lines. Ask question such as: Are there
Are there contextual factors that might
shaping the perspectives (Choose one!)
preclude a Yes/No answer?; If you had
13. Employ ‘Walk in Role’ and/or ‘Verbal Ping Pong’ strategies to further explore the issue. Instructions can be found in
• Documentary maker
Tell Me Your Story (Dutton, D’warte,
Variations for Conscience Alley
conscience alley set up.
8.
• Further problematising the perspectives
silenced perspectives, contextual factors
the motivations and perspectives around
There are many ways to tailor/modify Assign one side of the argument to
prior learning.
aspects of the opposing perspectives?
IMPLEMENTATION
7.
• Conscience alley can also function as
research, fallacious arguments, missing/
funding organistion
each line.
at speed.
hybrid perspectives that incorporate
• Representative from a research
Organise ‘speakers’ into the
intellectually nimble and think critically
‘thinkers’ identify areas for additional
Rossbridge & Rushton, 2018).
6.
fosters/assesses students’ capacity to be
a pre-test for a topic or to summaries The ‘thinkers’ take a vote and share
invited to justify their decision and rate
4.
planning/preparation time. Doing this
to negotiate a compromise position, how might this be achieved? What would it involve? • Nurture cognitive wellbeing by inviting students to make possible links to real life scenarios. This creates opportunities for students evaluate aspects of their lives. • Repeat conscience alley with new participants, and the same or varied question.
Conscience Alley to suit the needs of
• Run parallel conscience alley scenarios
your class and lesson intentions.
in a large venue. Students video their group’s product. Share and compare.
Select and distribute argument cards
• One or more speakers can
to ‘speakers’. (Can allow preparation time
intentionally provide wrong answers.
if desired).
This adds complexity to the questioner’s
9.
decision and provides and elevates the
Invite ‘questioner’ to frame their
question and walk down conscience alley.
responsibility of the ‘listeners’ to become ‘fact checkers’.
• Use conscience alley as a pre-writing activity to scaffold the planning of key argument and supporting evidence. The PEEL/PEAL/PETAL elements can be created by forming a second/third line of ‘Speakers’ who offer the supporting evidence/analyse as desired.
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Illuminate Research and Innovation
WHAT IS THE CURRICULUM AND RESEARCH JUSTIFICATION FOR EMBODIED PEDAGOGIES SUCH AS ‘CONSCIENCE ALLEY’? Imagination is a means through which students can assemble a coherent world and cultivate empathy (Greene, 1995). With its process-oriented approach to learning and scope for safely exploring a range of perspectives, embodied pedagogy aligns with the Australian Curriculum General Capabilities of
• Personal and social capability involves
Rushton, 2018; Ewing, 2010; 2012; Ewing
students in a range of practices including
& Saunders, 2016; Lee et al., 2015). Too
recognising and regulating emotions,
often, however, drama-based strategies
developing empathy for others and
are perceived as the province of learning
understanding relationships, establishing
in English and Drama and are thus
and building positive relationships,
eschewed by teachers delivering learning
making responsible decisions, working
in other subject areas. The research
effectively in teams, handling challenging
evidence challenges this assumption
situations constructively and developing
with embodiment and enactment having
leadership skills. (Personal & Social
been shown to be ‘important precursors
Capability)
to other ways of knowing and therefore
Critical and Creative Thinking, Personal
Embodied pedagogy such as Conscience
and Social Capability, and Ethical
Alley involves adopting a ‘role’ which
Understanding (ACARA, 2014).
functions both to enable the taking on a new viewpoint, and to create a safe
For example: • Critical thinking is at the core of most intellectual activity that involves students learning to recognise or develop an argument, use evidence in support of that argument, draw reasoned conclusions, and use information to solve problems. Examples of critical thinking skills are interpreting, analysing, evaluating, explaining, sequencing, reasoning, comparing, questioning, inferring, hypothesising, appraising, testing and generalising. (Critical and Creative Thinking)
space between personal views and the views potentially held by others. Whereas a classroom debate can easily slip into emotional, non-evidence-based arguments, structured role play strategies position students away from their personal stances and shift the dialogue to a more intellectual, distanced exchange. The physical layout of drama-based strategies can enact and/or symbolise the nature of the topic. The questioner in Conscience Alley is positioned between opposing lines or speakers. This creates a visual image of the opposing perspectives and signals the nature of
• Processes of inquiring into ethical
dissenting viewpoints. The symbolic tug
issues include giving reasons, being
of war experienced by the questioner
consistent, finding meanings and causes,
as they walk down the alley physically
and providing proof and evidence.
and metaphorically enacts the internal
Interrogating such concepts through
dialogue we engage in when faced by a
authentic cases such as global warming,
complex question informed by multiple
sustainable living and socioeconomic
possible arguments.
disparity can involve group and
can facilitate … deep learning across the curriculum’ (Ewing, 2012, p. 9). Learning through drama provides ‘ways of coming to understand and make connections across different kinds of knowledge’ (Ewing, 2010, p.7) and the physical kinaesthetic dimensions promote student engagement (Lee, Patall, Cawthon & Steingut, 2015; Rothwell, 2011). Furthermore, the connection between language development and the use of drama as a pedagogical approach has been well established (Dunn & Stinson 2011, Stinson & Winston, 2011; Ewing, 2012). Drama-based strategies empower students to be heard in role and, in so doing, feel safe to have their voice heard. This is especially the case for students who are learning English as an additional language or dialect (Dunn & Stinson, 2011; Dutton & Rushton, 2018; Piazzoli, 2011; Stinson & Freebody, 2006). Conscience Alley affords all students the opportunity to practise expressing a perspective thus developing their confidence and fluency in shaping assertive, persuasive arguments.
independent inquiry, critical and creative
Embodied learning such as Conscience
The impact to student wellbeing of
thinking, and cooperative teamwork, and
Alley has been shown to contribute
empowering student voice has been well
can contribute to personal and social
to positive academic and wellbeing
established.
learning. (Ethical Understanding)
outcomes for all students (Dutton & Pymble Ladies’ College
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Out of their seats and asking great questions
FINAL REFLECTIONS All teachers in Australia find themselves positioned in the movement towards increased regulation and accountability. Research highlights how high-stakes standardised tests, such as NAPLAN and the NSW HSC, can challenge the ways teachers situate learning in their classrooms (Berliner, 2011; Brass, 2015; Cormack, & Cromer, 2013; Comber, 2012; O’Mara, 2014). Often, we can respond to explicit or implied ‘advice’ by changing our pedagogy to strategically prepare our students for these tests (Brass, 2015; Comber, 2012; Dutton & Rushton, 2018) with some teachers claiming ‘we just don’t have time for any creative stuff’ (Dutton & Rushton, 2021, Unpublished). Attitudes such as these lead to diminution in classroom activities that foster critical and creative thinking, and that support cognitive well-being with the consequence being student having insufficient ‘space to play’ (Williams, n.d) with ideas and experiences relating to their lives and world. These shifts are not supported by curriculum documents or research evidence and can have unanticipated impacts on student learning.
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Illuminate Research and Innovation
Lawrence (2012) argues that “promoting and practicing embodied pedagogies often means breaking through boundaries and challenging dominant ideologies and epistemologies” (p. 76). In this article we have provided a research-informed justification for one classroom strategy to achieve this. We have argued for the implementation of embodied pedagogies as normalised teaching practices and have offered ‘Conscience Alley’ as an effective embodied activity that can be used in your classroom tomorrow. Those of us who implement these research-informed embodied approaches know that, rather than detracting from high quality learning, the strategies instead support students’ critical thinking, cognitive wellbeing, and engagement. So, let’s get our students out of their seats and asking great questions!
Additional resources
References
Open Education Resource (n.d) Embodied pedagogies. http://embodiedpedagogies.com/ Dutton, J., D’warte, J., Rossbridge, J., & Rushton, K. (2018). Tell me your story: Confirming identity and engaging writers in the middle years. Sydney: Primary English Teaching Association Australia (PETAA). Chapter 2 ‘Affirming identity through drama pedagogy’. NSW Government (n.d). Conscience Alley, NSW Government website – Education. https://education.nsw.gov.au/teaching-andlearning/learning-from-home/teaching-athome/models-of-teaching/contemporarylearning-and-teaching-from-home/ learning-from-home--teaching-strategies/ conscience-alley
ACARA (2014). Australian Curriculum (nd). https://www.australiancurriculum.edu.au Berliner, D. (2011). Rational responses to high stakes testing: The case of curriculum narrowing and the harm that follows. Cambridge Journal of Education, 41 (3), 287–302. https://doi.org/10.1080/030576 4x.2011.607151 Brass, J. (2015). Engaging in education policies through governmentality studies. English in Education, 50 (2), 9–14. Comber, B. (2012). Mandated literacy assessment and the reorganisation of teachers’ work: Federal policy, local effects. Critical Studies in Education, 53 (2), 119. Cormack, P. & Cromer, B. (2013). High-stakes literacy tests and local effects in a rural school. Australian Journal of Language and Literacy, 36 (2), 78–89. Dewey, J. (1916). Democracy & Education. https://nsee.memberclicks.net/assets/ docs/KnowledgeCenter/BuildingExpEduc/ BooksReports/10.%20democracy%20and%20 education%20by%20dewey.pdf Dunn, J. & Stinson, M. (2011). Not without the art!! The importance of teacher artistry when applying drama as pedagogy for additional language learning. Research in Drama Education: The Journal of Applied Theatre and Performance, 16 (4), 617–633. https://doi. org/10.1080/135 69783.2011.617110 Dutton, J., & Rushton, K. (2018). Confirming identity using drama pedagogy: English teachers’ creative response to high-stakes literacy testing. English in Australia, 53, 5–14. Dutton, J., D’warte, J., Rossbridge, J., & Rushton, K. (2018). Tell me your story: Confirming identity and engaging writers in the middle years. Sydney: Primary English Teaching Association Australia (PETAA). Ewing, R. (2010). The Arts and Australian education: Realising potential. Melbourne: ACER Press. Ewing, R. (2012). The imperative of an arts-led curriculum: Lessons from research. NJ (Drama Australia Journal), 36, 7–14. Ewing, R. & Saunders, J. (2016). The school drama book: Drama, literature and literacy in the creative classroom. Sydney: Currency Press. Ewing, R. & Simons, J. (2016). Beyond the script: Take 3 Drama in the English and literacy classroom. Newtown: PETAA. Greene, M. (1995). Releasing the Imagination. San Francisco, CA: Jossey-Bass. Lawrence, R.L. (2012). Coming full circle: Reclaiming the body. New Directions for Adult and Continuing Education, 134, 71-78. Lee, B., Patall, E., Cawthon, S. & Steingut, R. (2015). The effect of drama-based pedagogy on PreK–16 Outcomes: A meta-analysis of research from 1985 to 2012. Review of Educational Research, 85, 3–49.
Nguyen, D.J., & Larson, J.B. (2016). Don’t forget about the body: Exploring the curricular possibilities of embodied pedagogy. Innovative Higher Education, 40 (4), 331-344. NSW Government (n.d). Cognitive well being strategies, NSW Government website – Education, https://education.nsw.gov.au/ student-wellbeing/whole-school-approach/ wellbeing-framework-for-schools/cognitivewellbeing-strategies O’Mara, J. (2014). Closing the emergency facility: Moving schools from literacy triage to better literacy outcomes. English teaching: Practice and Critique, 13, 8–23. Piazzoli, E. (2011). Process drama: The use of affective space to reduce language anxiety in the additional language learning classroom. Research in Drama Education: The Journal of Applied Theatre and Performance, 16 (4), 557–573. Rothwell, J. (2011). Bodies and language: Process drama and intercultural language learning in a beginner language classroom. Research in Drama Education: The Journal of Applied Theatre and Performance, 16 (4), 575–594. Stinson, M. & Winston, J. (2011). Drama education and second language learning: A growing field of practice and research. Research in Drama Education: The Journal of Applied Theatre and Performance, 16 (4), 479–488, Williams, G. (n.d). Unpublished lecture content, University of Sydney.
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Junior School Learning through play BY ANNA PLANT WHAT IS PLAY? Play is all about giving children time and
“Play is the highest expression of human
space to let their imagination go. As their
development in childhood, for it alone is
imagination unfolds, we witness role play
the free expression of what is in a child’s
and relationships unfolding between an
soul.” – Friedrich Frobel (as cited in
object, toy, creation and the child who
ACECQA, 2020)
has breathed life into them. You see how children are interpreting their world into the play. The child seems to process so much of what they have experienced into play. In a way, it allows their brain the
“Play is the highest expression of human development in childhood, for it alone is the free expression of what is in a child’s soul”. FRIEDRICH FROBEL
time to reflect on and capture the events and beyond that emotions they have felt. When a young person is involved in play, we see incredible skills unfold. They have to negotiate the space and tools
Illuminate Research and Innovation
but it is not trivial. To grow and thrive, children have to play. Active, physical play is a primary way that children learn about themselves and the world around them. It is essential to the healthy development of their minds and bodies and to cultivating the complex personal and social skills they need to make their way in the world.” – Sir Ken Robinson
available to them, they have to take into
Most researchers and educators identify
consideration the imagination of the
that play is hard to define. I believe it
other children present. This requires
is something an educator needs to
higher order thinking skills such as
grow into through personal experience.
communication, concept development
For me, play is imagination given the
(where children build ideas on top of
freedom to create and design. Play takes
another idea) and releasing control
different forms including unstructured
(where turn taking naturally develops
play, guided play and intellectual play
skills in flexibility and translation). The skill
(Sahlberg, 2020).
of translation involves taking onboard the ideas of others and incorporating these into your own, which leads to further skills in design and innovation.
38
“Child’s play may be highly enjoyable,
WHY IS PLAY SUCH A BIG DEAL? Essentially, play lets imagination go! Play enables ideas to be massaged and developed. It relies on creativity in order for it to move, for the play itself to progress. It is not stagnant, which makes play intriguing and exciting for all involved. Play draws you in and engages you because it is asking your imagination to ignite. According to the Official Journal of the American Academy of Paediatrics (Ginsberg, 2007), paediatricians agree that ‘play allows children to use their creativity while developing their imagination, dexterity, and physical, cognitive and emotional strength. Play is important to healthy brain development’. In order for play to occur, two ingredients are required; both time and space. Time to allow for thinking for those ideas to be massaged and developed in order to test those ideas and designs and the time to draw feedback to recreate or innovate. This is when the brain is firing on all cylinders as it is constantly having to reframe and reconsider. Time is also needed for pause and reflection. Space is essential and can be considered in terms of physical space and space in time. Physical space is necessary in outdoor and indoor spaces. Spaces for models and creations to be left to come back to. Space to be on your own or with a group. We were interested in seeing students use words like ‘rush’, ‘crowding’ and ‘stress’ when we asked them to describe the timetable which brings us to understand how space in the structure of a timetable is also important.
Image above: Year 3 children play with Heidi the Hedgehog at lunchtime and bring other objects into the play. Evidence of joy and social interaction are present here. Image below: Year 5 students find such joy and achievement in designing a game of riding on a tyre with poles to push it along. This element of play evolved and developed as the ideas of these two girls grew. Pymble Ladies’ College
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Learning through play
HOW DO I KNOW THIS? For some time now, Kate Brown, our Head of Junior School, and I have shared deeply the ideals and research of Pasi Sahlberg and William Doyle. Since the publication of his book in 2019, Sahlberg relocated to Australia to become Professor of Education Policy and Deputy Director of the Gonski Institute at the University of New South Wales, Sydney. In a recent interview with ABC’s Sarah Kanowski (2020), Sahlberg reiterates through his personal experience, and the more recent experience of online learning during a world pandemic, that educators and schools need to lean in and listen to the powerful way play enables children to learn at their best. Sahlberg (Kanowski, 2020) implores educators to make time and space for play to take centre stage in learning and in our schools rather than depriving our children of the outdoors. He encourages us as educators to get children off screens or, if using screens, use them to get students involved in design and construction, as the technology can be a
“I love that we have freedom because that makes us able to learn in the way we do it best”. YEAR 6 STUDENT
tool to bring learning to life. He suggests children have more regular breaks amidst blocks of teaching instruction to help children and teachers to stay fresh and
Guided Play. Year 4 entry event for the Term 3 Inquiry into Being a Sustainable
creative. Sahlberg predicts that learning
Change Maker. The girls were given an experience by teachers to ignite empathy
and health outcomes can only improve
and curiosity for the environment. Senses were employed through what they could
by taking more regular breaks. He also
see, smell, hear and feel. They were guided to explore photos, video and objects that
encourages Australian educators to apply
pose environmental concerns and solutions. Teachers reflected on how engaged the
our gorgeous, relaxed Aussie attitude
girls were as they looked at the items through the different lenses of empathy, as a
to schooling. Sahlberg’s experience has
scientist and as an historian. They were surprised at the connections students were
been that Australian schooling is serious
already making between objects and its environmental element. Another teacher
and high stakes and more pressured than
commented on how the multi-disciplinary approach made the entry event accessible
his experience in Finland.
to all students.
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Illuminate Research and Innovation
According to Robinson in Sahlberg and
comes easily when it is driven by
Doyle (2019, xv), play is typically viewed
curiosity and passion. When motivated
by many adults as ‘an enjoyable leisure
by personal goals, a search for answers,
activity, but unimportant compared with
or something or someone they love,
other priorities, especially in education’
people are prepared to devote thousands
which creates an important contradiction
of hours over many years to focused,
that must be explored. Furthermore,
purposeful learning” (p.6).
Sahlberg and Doyle (2019) recognise what many educators know, that parents are deeply worried about the uncertain future their children are facing. This can lead to parents placing an intense focus at home and at school on structured learning and achieving high grades. This is resulting in the opportunities for play being reduced and the value of play being held at a low level. According to the World Economic Forum (2020, p.8), “playful learning can enable innovation skills. Structured and unstructured play activities enable children to tap into their natural curiosity, learn through trial and error, and explore new solutions to challenges”.
The document also points out that, “successful learning and effective recall are more likely when what is being learnt has personal meaning and when learners can see its relevance and potential applications” (p.6). Students need opportunities to apply these skills in practical, real-world contexts. Providing time and space for students to dive deeply into their learning in realworld contexts is an asset and requires students and teachers to take a ‘play mindset’ in the design of their learning. It requires us to be creative with integrating the curriculum to find that space. It requires creativity in designing learning
The ideals and results that ‘play’ provide
opportunities that spark curiosity and
are featured in the recent publication
develop passion in our students.
of the NSW Curriculum Review Interim Report (2019). An intended outcome of seeking reform of the content of the curriculum is for “learning to be refocussed to develop deeper understandings and higher levels of skill” (p. xi). It is suggested that focus be placed on developing deep understanding through student understanding the relevance of their learning and how it can be applied to different contexts. Interestingly, the report gives focus to the evolving understanding of learning. It states that;
The NSW Curriculum Review Interim
Intellectual Play. Year 3 students were given a problem at the beginning of Term 3, 2020, to design an enclosure for an Australian native animal affected by the bushfires in January 2020. The level of detail and description the girls provided to visiting students about their prototype designs was phenomenal. Their depth of understanding of the animal and its needs, which they captured through natural and recycled materials, demonstrated how providing guided play is beneficial to a child’s development and deep learning.
Report (2019) recognised that a common theme amongst submissions and consultations was the major role educators play in schools with regards to student wellbeing, mental health and the development of personal and social capabilities. It is my recommendation that schools provide more breaks, particularly outdoors, and more choice in play to increase student agency. This approach could see a decrease in student wellbeing concerns. According to an analysis by Dr David Whitebread,
“Among the many things now known
a Cambridge University psychology and
about learning is the crucial importance
education researcher (2016, as cited in
of emotional engagement … learning
Sahlberg and Doyle, 2019, pp. 54-55):
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Learning through play
“Neuroscientific studies have shown
other two characteristics (iteration and
This enabled the vision of two leaders,
that playful activity leads to synaptic
social interaction) supports even deeper
Kate Brown, Head of Junior School,
growth, particularly in the frontal cortex,
learning” (p.16).
and myself to bring into the forefront
the part of the brain responsible for the uniquely human higher mental functions. In my own area of experimental and developmental psychology, studies have also consistently demonstrated the superior learning and motivation arising from playful, as opposed to instructional, approaches to learning in children. Pretend play supports children’s early development of symbolic representational skills, including those of literacy, more powerfully than direct
WHY NOW? HOW DID I KNOW THAT NOW WAS THE TIME TO BRING CHANGE? We had just faced the transition back to school from online learning, due to the COVID-19 pandemic in 2020. Teachers’ digital skills had grown exponentially, along with their flexibility of thinking. We needed to condense curriculum, integrate where possible and add more breaks to the girls’ day to balance the shift to online from face to face learning.
our beliefs about the essential role that play has in a child’s development and her learning. We searched for ways to provide more time and space in the timetable and curriculum to give the girls time and space to play. We were committed to the value of ‘unstructured play’, play that is unguided by an adult and which involves freedom and choice for the child, and then to the value of creating time and space across all lessons to play with concepts and ideas; guided
instruction. Physical, constructional
“I loved the idea of Challenge by Choice
play and intellectual play. We believed
and social play supports children in
and passion projects throughout online
that if we released our students in their
developing their skills of intellectual and
learning. Allowing the girls to have space
lesson time by providing transdisciplinary
emotional “self-regulation,” skills which
to play, create and learn about what
units, choice and more inquiry style
have been shown to be crucial in early
really interested them was so beneficial”.
learning, then the imagination would be
learning and development.”
Evie Charles (Year 5 Teacher)
engaged - which is, therefore, play.
A final source of confirmation to
“Having shorter lessons made us focus
WHAT ACTION DID WE TAKE?
encourage us to further embrace the
on what was really important verses
elements of play in our Junior School
superfluous information that can distract
have derived from the Lego Foundation
from the core of the learning objective.”
in a White Paper (2017) Learning
Jenny Dreverman (Learning Support
through play: a review of the evidence.
Teacher in Year 4)
It is suggested that “through active engagement with ideas and knowledge, and also with the world at large, we see children as better prepared to deal with tomorrow’s reality – a reality of their own making. From this perspective, learning through play is crucial for positive, healthy development, regardless of a child’s situation” (p.1). The paper also recommends that “together with a sense of agency, we suggest that joy, meaningfulness, and active engagement, are necessary for children to enter a state of learning through play, and the addition of any combination of the 42
Illuminate Research and Innovation
We started small by taking what was in our hand, the curriculum, to see if we could design and craft the learning for Semester 2 2020 in such a way that would give us more time and space. The
“Disrupting the timetable allowed
best way to test our ideas was through
the girls to have more flexibility to
the format of an action research project.
demonstrate initiative in their learning, as well as flexibility to extend and demonstrate deeper connections in their learning. I found this exciting as a teacher because it opens up
Using our research question: How do we find time and space to play for deep learning to occur? We decided to test two interventions.
the possibility of greater integration
Intervention 1: Year 3 and 5 timetable
across key learning areas and greater
would be revised with more breaks and
opportunities for rich, meaningful and
the use of a ‘challenge by choice’ grid.
connected learning.” Monica Medeiros (Year 6 Teacher)
Intervention 2: Year 4 and 6 timetable would be revised to provide more integration across subject areas, to enable a larger block of time to be
devoted to play. A new lesson, called
•
“I think play is joyful, fun, happy,
Intellectual Play through the Year 6 Deep
‘Inquiry’, was created which integrated
friendly, like a trip to paradise of
Space unit provided freedom, choice
several subjects and adopted an inquiry
happiness!” Jessica Pickford,
and a sense of calm. Student comments
(play like) approach to learning.
Year 3 student
include:
Methodology
Unstructured Play has its place in the
1.
Conduct Year group collaborative
school day.
planning days to redesign learning
•
for Semester 2, 2020.
2.
Gather data on ‘feelings towards the timetable’ from students, staff and parents via online surveys.
3.
4.
“I can be creative and have fun.”
•
because that makes us able to learn in the way we do it best.”
•
Year 3 student
•
“During unstructured play, my
“I feel I am allowed to be more creative.”
•
friends and I started making perfume by crushing flowers to get oils. I was
“I love that we have freedom
“I have choice and that makes me happy.”
•
“I can be as productive as I want to
Ask staff to keep a journal of the
fascinated by the making of perfume
experience and share at Year group
and I did some research and used a
meetings what they were puzzled
STEM perfume kit at home to make
by and inspired by in this action
my own perfume.” Saskia Nicholson,
deep space time because it was a
research project.
Year 5 student
time to do something I have never
Students and staff asked to capture moments of play through digital
be, that is up to me.”
•
“I liked doing the mosaic tiles in
tried and also with friends that I haven’t learned with before.”
photography.
5.
Consolidate understanding of staff and create a new set of data through evidence gathered so far.
Evidence emerging from the data What is ‘Play’ for children at Pymble?
•
“I think play is a way to express creativity and make things using teamwork and imagination. I love play because there are no boundaries of what something can become. I love play because I have the freedom to turn a piece of junk into something amazing, we can use pure imagination, creativity, materials and teamwork to make something awesome. Most of all I love play because we can have fun with friends.” Anika Verma, Year 3 student
Unstructured Play with Year 3. “Mrs Plant, look! This is a bird nest and bees are attracted here too [pointing to the flowers]. We still need some shade for the birds so they won’t die in the heat today”. This demonstrates the incredible power that freedom of unstructured play gives to children to process and express either their interests or what they are learning about in class. The social and emotional element of this session of play was so strongly evident through the negotiation and collaboration required between students. Pymble Ladies’ College
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Learning through play
Emerging data from Staff
1.
A deeper and cohesive understanding of where play sits in the school day for children is present in staff reflections.
Teacher 1: “Reflecting on practice and what I’m seeing - play is more than just one lesson. It should be part of the curriculum! Activities should be designed for students to play, explore, and collaborate. The process of play and discussion makes students grapple with ideas and words and concepts.”
2.
Interestingly, as we have carved out time and space in the timetable, it has given staff a sense of freedom and peace leading to their own intellectual play with how learning is designed in their classroom.
Teacher 2: “I have enjoyed seeing the girls grow in creativity and freedom to experiment. For myself, it has been a learning curve to let go of the reigns and trust the girls with freedom. Also, remembering that assessment isn’t required of everything. I have loved being creative with the girls. Being able to enjoy a “freeer’” timetable and follow the path of the girls’ interests when completing discussion and activities has also been enjoyable. It has been
Intellectual play in Mathematics. Students were asked to design a flag linked with their Inquiry in the Year 5 unit, ‘Colonisation of Mars’. Their flag had to have several mathematical components of 2D shapes such as parallel lines, shapes and symmetry. It was incredible to see the high level of students’ engagement and the variety of designs. It certainly took learning to a deeper level that engaged imagination and, therefore, creativity and design.
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Illuminate Research and Innovation
easier to differentiate the lessons.”
LEARNINGS SO FAR…
Learnings
Next Steps
Developing a shared understanding of play in our community has required us as leaders of the research to find ways to check in with all participants and continually refine the understanding and in some places the value participants have placed on the word ‘play’.
Continue to work with staff on a shared understanding of ‘play’. Continue to use teachers’ time in collaborative planning sessions and in discussions at year group meetings to foster the shared vision of finding time and space in timetable and curriculum. This will help us understand and better articulate the ways in which play is learning.
The parent voice was not strongly represented in the data.
Find ways to engage and educate our parents, as research shows parent understanding and involvement in an initiative is an important precursor to change.
A collaborative planning day is an important tool for change as it brings all staff on board with the journey of learning they desire to take the girls on. This creates a shared vision of finding time and space to play
Collaborative planning should be scheduled to occur prior to each term. It would be great to invite specialist staff in PDHPE and Language/Arts to be part of this planning to see if more integration can occur across more subjects.
The ways in which children value and appreciate play is not always shared with adults. We need to align our vision with the place that play has, and can have, in schooling.
Include more debriefing and reflection opportunities after times of unstructured play to help students reflect and value what learning took place during that time.
Students deeply valued the new subject ‘Inquiry’, finding it “different”, but freeing, as they were able to spend more time delving into the content.
Continue Inquiry time into 2021 through design of learning which is lead by themes, rather than topic units. The adoption of Deep Learning Pedagogies will take this even further.
Students in Year 6 valued the Deep Space ‘intellectual play’ unit. They commented on choice, connection with others and a sense of calm.
Continue this in the timetable into 2021.
Students in Year 3 and 5 valued regular breaks in their timetable
Include in the 2021 timetable regular breaks in which bodies can move. These are times when students are removed stretch and move and have a small snack.
Table 1: Overview of key project insights and next steps
Pymble Ladies’ College
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Learning through play
CONCLUSION Adapting our school structure, its
Lessons and breaks
timetable and the way we design learning, has brought incredible benefits
8.15
Compass Check in
for students and staff. In 2021, the
8.25
Period 1
timetable will provide a movement break
9.25
Movement Break
for students after no longer than 55
9.30
Period 2
minutes of learning. These breaks take
10.25
Recess – Play break
10.45
Period 3
11.45
Movement Break
break of 5 minutes between Periods 1
11.50
Period 4
and 2 and Periods 3 and 4.
12.45
Lunch – Play break
1.30
Period 5 - Compass Directions
2.00
Period 6
different shapes. There is a movement break between Compass Check in and Period 1. There is another movement
There is also the ability for consumption of food during all breaks, as data gathered from the girls showed they
Table 2: Junior School timetable, 2021
were hungry throughout the day. We have maintained a recess break of 20 minutes and a lunch break of 45 minutes.
to ask how the Deep Learning approach
If anything, this action research project
In total, students now have 70 minutes
is enabling teachers to design learning
has taught me to value even more
of ‘break time’ in their school day. In the
which sees guided and intellectual play
strongly my thoughts on where ‘play’ sits
Netherlands, schools have 75 minutes
take centre stage.
in how a child spends her time. It has
of break time in their day and finish
taught me to more deeply appreciate the
the school day at 1pm. We have also
Finally, if we are to nurture our children’s
freedom students are given when they
designed the timetable to enable a set
hearts, minds and souls, it is paramount
can have even greater choice in how
time of unstructured play per fortnight
that we find a way as a school to create
they allocate their time. I have also come
for Year 3 to 5. Year 6 will continue
time and space to play. I value how
to recognise the subtle, but all important,
with ‘Deep Space’ but we have chosen
Dent (2005, p.50) links play to a child’s
social skills that arise in unstructured play.
to rename the unit as ‘Passion with
wellbeing in the following quote;
These are vital and more sophisticated
Purpose’. This will now have a direct link to students’ inquiry topic for the term, as
Play has the added advantage of giving
well as a service learning element.
children the opportunity to learn how
than we can construct in any structured planned activity.
to wait, share, take turns and to work
The deeper learning through intellectual
We will continue the Integrated Units of
alongside one another. Non-directed play
and guided play has enabled more
Inquiry in 2021, and will be adopting the
is also essential for a healthy imagination.
connection, motivation and sparked
Deep Learning Pedagogies, which is an
A healthy imagination is an excellent
more joy in our learners. Isn’t that what
exciting new development to move this
antidote to pessimism, negative thought
we desire as teachers; to spark a love of
action research towards. Future action
patterns and unhappiness.
learning in each of the children we have
research in the Junior School will be able 46
Illuminate Research and Innovation
the privilege to teach?
“ If we are to nurture our children’s hearts, minds and souls, it is paramount that we find a way as a school to create time and space to play” “In play, away from adults, children
References
really do have control and can practice
Australian Children’s Education & Care Quality Authority (ACECQA). (2020). The Importance of Play in Children’s Learning and Development. Retrieved from https:// www.startingblocks.gov.au/other-resources/ factsheets/the-importance-of-play-in-childrens-learning-and-development/ Dent, M. (2005). Nurturing Kids’ Hearts and Souls. Murwillumbah, NSW: Pennington Publications. Ginsburg, K. R. (2007). The Importance of Play in Promoting Healthy Child Development and Maintaining Strong Parent-Child Bonds. Paediatrics. Official Journal of the American Academy of Paediatrics. Retrieved from https://pediatrics. aappublications.org/content/ 119/1/182?fbclid=IwAR0Xu8aiviBpd9bKa Uqi0mMllUcFt7YvoXxpNY9c8EghK8aBLt3A2k W8368#sec-2 Gray, P. (2013). Free To Learn. New York: Basic Books Group. Kanowski, S. (Host). (2020, June 4). Pasi Sahlberg – making school the happiest place to be. [Audio]. Radio. In Conversations. ABC. https://www.abc.net.au/radio/programs/ conversations/pasi-sahlberg/12298494 NSW Education Standards Authority. (2019). Nurturing Wonder and Igniting Passion, designs for a Future School Curriculum: NSW Curriculum Review Interim Report. NSW Education Standards Authority. Robinson, K. (2019). Forward. In Sahlberg, P. & Doyle, W. Let the Children Play. (pp xii). New York, NY: Oxford University Press. Sahlberg, P. & Doyle, W. (2019). Let the Children Play. New York, NY: Oxford University Press. Sahlberg (2020, August 6) Let the Children Play with Pasi Sahlberg – The State of Play. ACEL. https://kapara.rdbk.com.au/landers/ fcc5fd.html Whitebread, D. (2019). Chapter 3. In Sahlberg, P. & Doyle, W. Let the Children Play. (pp 5455). New York, NY: Oxford University Press. World Economic Forum. (2020). Schools of the Future Defining New Models of Education for the Fourth Industrial Revolution. Switzerland: World Economic Forum. Retrieved from https://www.weforum.org/ reports/schools-of-the-future-defining-newmodels-of-education-for-the-fourth-industrialrevolution Zosh, J., Hopkins, E.J., Jenson, H., Liu, C., Neale, D., Hirsh-Pasek, K., Solis, S.L. & Whitebread, D. (2017). Learning through Play: A review of the Evidence. Lego Foundation. Retrieved from https://www.legofoundation. com/media/1063/learning-through-play_ web.pdf
asserting it. In free play, children really do have control and can practice asserting it. In free play, children learn to make their own decisions, solve their own problems, create and abide by rules, and get along with others as equals rather than as obedient or rebellious subordinates. In vigorous outdoor play, children deliberately dose themselves with moderate amounts of fear – as they swing, slide, or twirl on playground equipment, climb on monkey bars or tees, or skateboard down bannisters – and they thereby learn how to control not only their bodies, but also their fear. In social play children learn how to negotiate with others, how to please others and how to modulate and overcome the anger that can arise from conflicts. Free play is also nature’s means of helping children discover what they love…none of these lessons can be learned through verbal means; they can be learned only through experience, which free play provides. The dominate emotions of play are interest and joy.” (Gray, 2013 p.18)
Pymble Ladies’ College
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The power of kindness Learning to positively impact our world BY KATE BROWN WHAT IS IT?
‘I think kindness is probably my number one attribute in a human being. I’ll put it before any of the things like courage, or bravery, or generosity, or anything else… Kindness - that simple word. To be kind – it covers everything to my mind. If you’re kind, that’s it.’ Roald Dahl
Learning to be kind is not just about creating a feel-good factor. McKinsey and Company, the global management consultancy company, expounds that soft skills are necessary for people seeking employment in our global economy. Identifying compassion and kindness as one of these critical soft skills, McKinsey and Company explain that employing people who exhibit positive interpersonal skills is vital for
In the current political, economic, social
a harmonious corporation culture
and environmental climate, having
and is something they look for when
something like kindness to believe in
considering leadership opportunities.
is vital for giving our young people
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Illuminate Research and Innovation
hope. Our world has faced a global
The NSW Curriculum Review Interim
pandemic, reports of increased anxiety
Report, Nurturing Wonder and Igniting
and mental health issues abound in the
Passion, explored how our rapidly
media and there are concerns of social
changing world, with its developments in
fragmentation, and a loss of community.
technology, social media, employment
Alongside this is a growing movement
prospects and global issues, impacts how
within schools and local communities
our children learn and need to learn.
centred around kindness. It has become
Human nature is instinctively social;
cool to be kind! Kindness may be
people need people. The world we
a simple word, but it appears to be
are preparing our girls for continues to
enjoying a revival and holds significant
evolve rapidly, and the ability to build
power. It is also a word that young
and maintain strong positive relationships
children understand. Children know
is identified in this report as a key skill
when someone is kind and, equally,
that children need to learn at a young
they are able to articulate when they see,
age to transition through adolescence
hear or feel someone being unkind.
and into adulthood.
Focusing on ways to build a tool kit
system provides scientific evidence
to navigate mental health is seen as
for the impact that kindness can have
a priority within a school curriculum.
on our brains. Ballatt and Campling’s
Kindness could be the key to that
(2011) findings from this research show
tool kit.
that acts of kindness release oxytocin and endorphins and create new neural
WHAT IS KINDNESS?
connections and increase the plasticity of
So, what exactly is kindness? How can
the brain. So, being kind to others has a
it be defined? How can it be measured
mutually beneficial effect on the giver.
and what benefits does it have for student growth?
There is still limited research, especially in terms of the impact of kindness
Many reports including show a
on children and young people’s
correlation between random acts
wellbeing, so we are keen to continue
of kindness and increased levels of
our observations and action research
happiness in the person doing the act
in this space. It is important to keep
of kindness (Dulin, Hill, Anderson &
kindness on the agenda within schools
Rasmussen, 2001). However, despite all
so that children are taught to act with
the current attention on kindness there
kindness and compassion to others, their
are still difficulties in defining kindness.
environment and themselves and then
Whilst we may not be able to provide a
go out and positively impact their world.
definitive definition of kindness, children are, by the age of five, beginning to develop the capacity to feel and
ACTING WITH KINDNESS – OUR JUNIOR SCHOOL APPROACH
articulate empathy and, by the age of
Reading the available research on the
eight, developing the cognitive ability
power of kindness has led us to develop
to begin understanding differences in
and embed a focus on three tenets
perspective (Caselman, 2007).
of kindness within our Pymble Ladies’ College Junior School Mind, Body and
It has been said that the origins of the
Spirit continuum and curriculum. Central
word kindness lie in ‘kinship’, but over
to our thinking has been the need for our
the centuries its meaning and purpose
young girls to be able to understand and
have been expressed in different ways.
articulate what kindness is and why it is
Whatever the etymology, there is a
important. We focused on developing the
palpable power when children give
girls’ understanding of kindness through
of themselves to help others and the
three lenses: kindness to others, kindness
children themselves feel it. A 2015
to the environment and kindness to self.
study by Canter, Youngs and Yaneva
Data collected through our wellbeing
found that kindness is something more
survey in 2020 and through focus
than empathy for another’s situation
groups showed that the girls’ reaction
as kindness requires both a reaction to
to the increased focus on kindness was
another’s situation and action. Action
resoundingly positive.
research undertaken in the healthcare Pymble Ladies’ College
49
The power of kindness
The best way to show the impact of our
they think of ways to promote and lead
Collectively, the Junior School girls
approach is through the girls’ voices and
a culture of kindness within our Junior
rose to the challenge of ‘Walking for a
feedback collected in Term 1, 2021:
School and beyond.
Kinder World’ set by the Fly High Billie
“Kindness makes you feel happy. It helps
charity for World Kindness Day. In the We also introduced a Junior School
four weeks leading up to that day, the
kindness ambassador; Heidi the
girls circumnavigated the globe virtually
Hedgehog, who now regularly visits
by recording their kilometres of physical
“Kindness is our key to changing
girls in their classrooms and is a valued
activity each week and mapping how far
our world”.
symbol of our kindness mission. Allowing
around the world we therefore travelled.
children to engage with a character
This was a simple and collaborative
provides a gentle way of assisting them
way of helping to spread the message
to connect with and articulate feelings.
of kindness as far as we could. Danny
It is easier for young children to learn
“Being kind for no reward and when no
Mason-Kinder, founder of the Fly High
how to express their own feelings by
one is watching is true kindness”.
Billie charity, was astounded by the
following the example set by a character
lengths our girls went to in support of
“When I am kind to someone, I know I
with whom they engage. Heidi the
their kindness mission. Simple acts of
am making them happy but it also makes
Hedgehog provides a starting point for
kindness, and the gift of your time, can
me happy and I then feel good inside”.
conversations on the importance of
have significant positive impacts on the
kindness. Having Heidi the Hedgehog Our approach is to teach our girls to act
lives of others; a key message we want
as a symbol of kindness encourages the
from their heart in all their thoughts and
our girls to understand.
girls to think about ways to demonstrate
actions; namely to act with kindness.
and appreciate kindness.
your mental and your physical health as it stops you feeling anger or frustration”.
“Being kind is easy, it can be as small as a smile, or a compliment, just little stuff ... but it has a big impact”.
Central to this teaching is the belief that we choose our actions. By articulating this clearly to the girls we hope to build their sense of agency. We are teaching the girls that each day we have the power to make choices as to how we want to be in our social interactions. Kindness requires both choice and action. Peer modelling is a critical factor in fostering a culture within a school, so we introduced Kindness Captains in 2020. Each class elects a representative for a term who meet weekly (both face-toface and online) with Mrs Brown, Head of Junior School; Mrs Davey Acting Deputy Head of Junior School – Wellbeing; Mrs Genia Wright, Head of Learning Support and Miss Rachael Gibson. The teachers provide agency and voice to the girls as
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Illuminate Research and Innovation
The way Junior School girls have moved from working enthusiastically
KINDNESS TO OTHERS
on initiatives which were teacher led, to
Year 6 2020 built their entrepreneurial
setting up their own business initiatives
skills choosing charities to support. They
to complete acts of kindness within their
honed their persuasive skills as they
communities has been most impressive.
approached companies for donations
We had girls who made and sold
to these charities. Through sustained
bracelets to raise money for the koalas,
effort over a prolonged period the girls
another girl worked with her mother to
overcame hurdles and disappointment
sew masks for children in Victoria and a
and learned much about themselves
family was inspired by their daughter over
while acting in kindness. Without directly
the Christmas period to work together to
seeing the impact of their benevolence,
cook meals for the homeless in Sydney.
the girls could feel the power of their actions and were able to articulate the
KINDNESS TO OUR ENVIRONMENT
joy they felt by helping others. There is
In terms of kindness to the environment,
a Russian proverb which likens a kind
our inquiry learning enables the girls
word to a spring day, suggesting a sense
to apply kindness concepts in a global
of renewal, growth and positive energy
context, learning to pose solutions to
stemming from kindness.
real world problems. Year 4 held an Expo showcasing their prototypes to solve
global environmental problems they individually identified. The Pymble Junior School approach is to teach self and others kindness skills, so that students can approach global issues with a kind mindset.
KINDNESS TO OURSELVES Never was the need for self-care more important than in 2020 when families were separated by COVID-19 restrictions, girls were isolated in their learning for a portion of the year and social interactions were limited. Learning to create and value the space and time to be kind to oneself is a critical skill for a healthy balance in life. Our girls immersed themselves in unstructured outdoor play, connecting with nature and simultaneously developing their communication skills, their problem-solving, perseverance, creativity and resilience.
WHERE TO FROM NOW? Children in Denmark are taught ‘Klassens tid’ which are empathy classes (Alexander and Sandhal, 2016) and we are hoping to
References Ballatt, J., & Campling, P. (2011).Intelligent
continue explicitly teaching our girls ways kindness: Reforming the culture of healthcare. to be kind to build the sense of social connection that we as humans need. According to some psychologists and philosophers, compassion and kindness are among the most important things we can teach children and are necessary for our societies to thrive. As the Dalai Lama said, “Be kind whenever possible. It is always possible” and in the words of one of our Junior School Kindness Captains, “everyone can be kind. You just need to choose to be it”.
London: RCPsych Publications. Canter, D. & Youngs, D., & Yaneva, M. (2017). Towards a measure of kindness: An exploration of a neglected interpersonal trait. Personality and Individual Differences, Vol.106, 15-20. Caselman, T. (2007). Teaching children empathy: The social emotion. Chapin, SC: Southlight Inc. Dulin, P., Hill, R. D., Anderson, J. & Rasmussen, D. (2001). Altriusm as a predictor of life satisfaction in a sample of low-income older adult service providers. Journal of Mental Health and Aging, Vol. 7, 349–359. New South Wales Education Standards Authority. (2019). The NSW Curriculum Review Interim Report, Nurturing Wonder, Inspiring Passions. Sydney, NSW: NESA. Alexander, J.J., & Sandahl, I. D. (2016). The Danish way of parenting: What the happiest people in the world know about raising confident, capable kids. (Ed 1.) London, England: Piatkus.
“Simple acts of kindness, and the gift of your time, can have significant positive impacts on the lives of others; a key message we want our girls to understand.” Pymble Ladies’ College
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China – Fabric of Success, 2020 by Year 12 Visual Art 12 student, Anny Chen
The art on Pymble’s walls A fresh perspective BY NIKKI EASTERBROOK ART AND OUR WELLBEING When you enter a gallery, what do you
not only change the aesthetic of a space,
feel? I often find that galleries and other
but also alter the way you think and feel
cultural institutions are places that can
about the world.
expand your understanding of the world
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Illuminate Research and Innovation
around you. They are unique spaces that
At Pymble, we are lucky to be surrounded
are carefully designed to provide a safe
by artwork that inspires and challenges
and stimulating environment in which
our staff and students towards best
to explore new concepts and challenge
possibilities. But what is the significance
the status quo. I have always marveled at
of Pymble’s art collection, and how
the power of art and how one work can
can it continue to broaden our minds,
encourage creativity and improve the
“Together With Art” was originally
wellbeing of the College’s students
designed to introduce the annual Year
and staff?
12 Visual Arts Body of Work exhibition virtually should the physical exhibition be
As Pymble’s recently appointed College
cancelled. The virtual exhibition platform
Art Collection Curator and the Art
has since gone on to showcase other
Technician in the Visual Arts team,
artworks from Year 7 to 12, as well as
knowing what purpose art serves in
work from the Ex-Students’ Union 2019
the College and how art can impact
and 2020 Artist in Residence grant (see
our students and staff is essential when
David Del Favero’s article in this edition,
curating pieces from our significant
page 58). “Together With Art” is more
collection or identifying signal areas
than just a virtual gallery. It is an online
for development.
platform that provides information
TOGETHER WITH ART – PYMBLE’S ONLINE GALLERY
about Pymble’s art collection, news on upcoming exhibitions, and serves not only as an educational resource easily
A key aspect of my role is working
accessed online but also proudly displays
with students and teachers to curate
the accomplishments of our Visual Arts
artwork created as part of the Visual Arts
students for all to see. As galleries all
coursework. It is always an enjoyable
around the world adjust to this new
experience to see how students express
COVID reality of online exhibitions, so
themselves through creativity and how
too has our school, and it is exciting to
their parents, peers and the broader
imagine what more “Together With Art”
school community respond to the
can be used to achieve.
Principal Dr Kate Hadwen opens the 2020 Visual Arts Body of Work Exhibition with Year 12 Visual Arts students. Due to Covid-19 restrictions, the physical opening could not proceed so was streamed via www.Togetherwithart.org
art they have made. The coronavirus pandemic proved challenging in 2020, but one way that the College was able to maintain meaningful connections and recognise the hard work of Visual Arts students was through the establishment of an online art gallery.
Pymble Ladies’ College
53
The art on Pymble’s wall
Above Left: Lester’s work lives on in the school grounds with her portrait of former Principal of Pymble Ladies’ College, Gillian Moore, which is on display in Conde Library.
Highlights of the Pymble Art Collection Along with Pymble’s historical holdings,
Besides sparking creativity for those
Portrait of Gillian Moore by Kerrie Lester, Oil on Canvas, 153 x 190cm
the collection brings together art from
working in our classrooms and
different times and across different
staffrooms, Pymble’s art collection
In background, Portrait of Miss Buckham, by Brian Dunlop, oil on canvas, 100 x 87cm
cultures. It houses over 50 works of
strengthens our school’s identity,
art including considerable pieces by
establishes meaningful connections with
notable figures such as Joshua Smith,
artists, and is a point of differentiation
Top Right: The collection holds a selection of works by Torres Strait Islander artist Billy Missi who was Pymble’s Artist in Residence in 2010. Urapun Kai Buai (Big One Kin) 2007, Ed. of 35, by Billi Missi, linocut printed in black ink from one block, 100 x 250cm on display in the IH Building. A generous gift from a member of the Pymble Community, 2010.
Kerry Lester, Mitsuo Shoji, Michael
for the College. The power of art can
Johnson, Billy Missi and Max Dupain. The
be diminished if you do not feel a
collection is funded by small allocations
connection to an artwork, and so it is
within the school budget, as well as by
important that our students see their
the generous support of the College
identity reflected on the walls of the
community through bequests and
school and are inspired by styles of art
donations. The art collection requires
not often encountered.
Bottom Right: The Sunbaker, 1937, by Max Dupain, Ed. 72/90, silver gelatin print, 42.5 x 37cm, certificate of authenticity signed by Jill White; On display in the Kate Mason Building
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Illuminate Research and Innovation
significant investment, which makes it worthwhile examining the impact artwork Whilst the art collection is a reflection of our school community, there are can have in an educational setting. many stories to tell; and we continue to establish and grow the collection that represents the diversity of Pymble.
KERRY LESTER (1953 - 2016) Pymble has produced several successful artists. One such artist is Kerry Lester (Alumni, 1971) one of Australia’s most celebrated artists who attended Pymble before studying Fine Art at the National Art School and Alexander Mackie College. Lester, who passed away in 2016, featured regularly in the Wynne and Sulman Prizes and the Mosman Art Prize, which she won in 2011. Best known for her unique hand-stitched canvases, the charismatic artist also worked in print, collage, ceramics and sculpture mediums. Her bold and distinctive portraits were regular contenders for the Archibald Prize and the Portia Geach Memorial Award. Seeing the work of a successful alumni on display is not only aspirational for students contemplating a career in the visual arts but is also a means of reminding current students of the school’s legacy. The painting is a connection between those sitting in classrooms now and those who were there before them. I often wonder
creating art with students and inspiring
We are incredibly fortunate to house a
them to experiment with their creativity.
stunning collection of thirty-one signed
His residency was part of a week-
and editioned silver gelatin images,
long Indigenous Cultural Celebration
most of which are on display in the
culminating in an exhibition of
Kate Mason Building. The collection
Indigenous artworks, Sharing Cultures.
includes two of his most iconic images
how Lester was inspired by her time at Pymble and how students currently at the College will be influenced by the creativity they see on the walls.
BILLI MISSI (1970-2012) The Artist in Residence grant, supported by the Pymble Ex-Students’ Union, is yet another way that art can benefit students beyond what they see on the walls. Practicing artists visiting the school bring a unique perspective and are an asset to the Visual Arts education Pymble offers. Missi is known for his bold and intricate linocut prints depicting his own life experiences and knowledge passed down by Elders. Throughout his 2010 residency, Missi shared his processes of
and my favourites - The Sunbaker and
MAX DUPAIN (1911-1992)
Bondi, 1939. Each time I encounter
Within Pymble’s established art
these images, I can’t help but appreciate
collection, we are privileged to have
Dupain’s contemporary rendition of
access to the work of artists who have
time and space, and nostalgically reflect
been pivotal in the development of
on what these images mean to me
Australia’s cultural identity. One such
personally. These photographs have
artist whose work is included in our
become, with the passage of time,
collection is arguably Australia’s most
Australian icons.
influential photographers of the 20th century, Max Dupain. Renowned for his black and white photographs, Dupain was a master of light and form and an early proponent of modernist photography. His photographs have become an important historical record of Australian life during the mid to late 20th century. Pymble Ladies’ College
55
The art on Pymble’s wall
COLLECTIONS STRATEGY 2021: ESTABLISHING THE ALISON HALE COLLECTION Recently, the Ex-Students’ Union Committee, in memory of former Boarder and Ex-Students’ Union President and Secretary, Alison Hale (1926-2018), generously bequeathed funds for new acquisitions to be installed in our boarding houses. Whilst a third of the funds will be used to acquire artworks from Pymble’s alumni art community, consideration was given to the make-up of the College boarding cohort, which has a high percentage of students from regional and rural areas of Australia. This generous gift will be used across two collecting areas; to actively expand the geographical reach of our contemporary
Natives by Misha Harrison, wool, timber, acrylic, Location: Goodlet House
art collection and to increase the representation of female artists. The Alison Hale Collection will consist of an all-female artist line up, celebrating alumni and regional artists, both emerging and professional, which I hope will create a more balanced representation of women artists in the larger collection and strengthen the connection former students have with the College. Every art collection has to start somewhere, and for this one to be initiated by Pymble’s Ex-Student Union Committee proves again how art can play a significant role in building a legacy and creating cross-generational ties.
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Illuminate Research and Innovation
Antarrengeny, 2020 by Edie Kemarre Holmes, acrylic on cotton, 91cm x 76cm Location: Lang House
Lagoon at Night, 2020 by Ileigh Hellier, oil on linen, 100cm x 80cm Location: Marden House
Current exhibition on display in the David Macfarlane Centre (DMC). Artworks shown from left to right: Dhiyaan (Family) by Shakira Tyson, Year 12 Visual Arts student, 2019; selection of artworks by students working in collaboration with Jason Wing, Artist in Residence, 2019; student works by Olivia Anderson, Kyana Cvetkovic, Aspen Moore, Shakira Tyson, Georgia Stuart, Mika Tyson, Sydney Auld, Mikayla Zahirovic and Kirralee Middleton-Pierpoint & a commissioned artwork titled #3, 2018 by Rheanna Lotter
For those who venture into the boarding
with an annual exhibition program
houses, expect to see new acquisitions
EYE OF THE BEHOLDER: BUILDING ON STRENGTHS OF THE COLLECTION
from Alumni artists, Christine Webb and
Regardless of who the primary audience
collection continually to life. This could
Jessie Breakwell, along with emerging
for an artwork may be, any art on
consist of a series of informed displays
regional New South Wales artists, Misha
display should be reflective of Pymble’s
across the College as an effective way of
Harrison and Ileigh Hellier. An artwork
contemporary identity. Our College was
ensuring the school’s collection and its
by Edie Kemarre Holmes from the
founded more than a hundred years ago,
history are continually appreciated.
Ampilatwatja region, Northern Territory
and its mission and core values continue
has also successfully been acquired.
to stand strong – All’ Ultimo Lavoro, Strive
There are more pieces to come from
for the Highest. But over the past century,
artists that I hope reflect the identity of
art and our society have fundamentally
those who will be enjoying the works
changed. This means that our art
on a daily basis.
collection must continue to evolve with
As I continue to work on this exciting
our cultural and educational expectations.
showcasing student work will bring the
When students and staff move around the grounds of Pymble, I want the spaces they inhabit to be filled with art. Art has the power to educate people about almost anything, and it inspires us to grow and evolve in our understanding of ourselves, each other and the world in
curatorial project with the Director of
New acquisitions and loans showcasing
which we live. Creativity is becoming an
Boarding, increasing the representation
a range of practices across student,
increasingly more essential component
of female artists around the College is
emerging, mid-career and established
within education, and as opportunities
an important focus and one I will
artists can compliment existing historical
for embedding creativity across the
continue to advocate for in an all-girls
artworks in the collection. As Curator, I
curriculum become more urgent, I
educational environment.
am able to consider what pieces from
hope that Pymble’s art collection will
the collection are on display, how they
spark a broader reflection on the role
are shown and in which locations they
of art, the kind of art we want to display
are exhibited around the College. It is
and, ultimately, what we want to see
important that the collection doesn’t
represented in our College.
become stagnant, so a considered rotation of collection artworks together
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Haptic thinking in the Visual Arts classroom DAVID DEL FAVERO
David Del Favero, Acting Head of Learning Area - Visual Arts, was the successful recipient of the 2020 Pymble Ex-Students’ Union Artist in Residence grant. Along with acclaimed artists, Anne Starling and Rafael Butron, David and our Year 8 Visual Arts teachers, opened a world to students through which their images of and language about their environment found powerful expression in printmaking. A holistic approach to education
immersed in digital technologies.
recognises that the process of learning
Political and economic imperatives
in the world is a synthesis of corporeal
aside, the educational and wellbeing
and cerebral engagement in a diverse
needs of students are enriched when
range of experiences. Students, children
both the mind and body of the individual
and young people have an invaluable
is developed through meaningful
connection to feelings of wellness and
engagement in tactile and sensory
wholeness which can be discovered
learning opportunities.
through their exploration of art making. This important aspect of teaching and
Haptic: (adjective), relating to the sense
learning in the visual arts domain is
of touch, in particular relating to the
worthy of further exploration through the
perception and manipulation of objects
lens of wellbeing.
using the senses of touch (Definition from Oxford Languages)
Whilst the role of the computer as a classroom tool for learning is highly valued, the immaterial essence of digital engagement has encroached on the sensory ways in which students learn to understand, connect and empathise with their world. The act of physically engaging with matter facilitates a haptic way of thinking that is in danger of being forgotten as students are increasingly 58
Illuminate Research and Innovation
CONTEXT FOR EX-STUDENTS’ UNION ARTIST IN RESIDENCE GRANT
domain of art, an exchange of ideas and
knowledge of printmaking – dry point
feelings takes place between the artist
intaglio print and lino cut relief.
The bushfires of the summer of 2019/20
and their audience.
brought close to home the threat of global warming and the urgency for climate change action. Within this context, the Ex-Students’ Union Artist in Residence grant provided opportunities for students to reflect on an issue of personal and global significance and to channel their responses in a positive way through artmaking. Each student’s story, whether experienced or imagined, served as a bridge to connect the individual to her world. Stories also provid material for the healing and creative processes associated with the act of artmaking. Through the binary relationship of artist and audience, students learned that they could play a meaningful role in raising awareness about issues of global significance and that through individual action, societal change can occur. In the
The artists started the residency with The American philosopher John Dewey
presentations of their art practice in
argues in Art as Experience (1934/2005)
the Jobson Lecture Theatre. Anne
that “the artistic dimension arises from
Starling’s work explores the relationship
the encounter of the work and its reader/
between humankind and industry and
viewer”. This is because the audience
makes direct reference to the unsettling
can empathise with the experiences,
interstices between the natural and urban
feelings and ideas that are represented.
environments. Rafael Butron’s art practice
Could the audience viewing the images
celebrates the beauty of nature, as well as
produced by Year 8 students feel a sense
examining the human impact on urban
of responsibility to take action on climate
and natural landscapes.
change? The presentations addressed core
PYMBLE EX-STUDENTS’ UNION SPONSORED ARTISTS IN RESIDENCE PROGRAM
aspects of the artists’ practice by
Year 8 Visual Arts students welcomed the
materials, processes and techniques.
Pymble Ex-Students’ Union sponsored
The prints displayed to the students
Artists in Residence, Anne Starling and
were inspirational in motivating them to
Rafael Butron, during Term 3 2020.
explore their own response to the theme
Both experts in their field, Anne and
of climate change.
shedding light on their intentions as well as their choices about subject matter,
Rafael generously shared their extensive
RESEARCH AND GATHERING AS STIMULUS FOR IDEAS GENERATION Inspired by the artists’ presentation of their work, students were guided by the artists and their teachers to develop designs for one linocut print and one drypoint print. Encouraged to reflect on their personal response to the fragility of nature, students embarked on their creative journey by brainstorming ideas, researching around the issue of climate change, and gathering stimulus material including text and images. The making of preliminary sketches and annotated notes in their visual arts diaries supported the students’ learning about creative processes. Artists Anne Starling and Rafael Butron with Visual Arts teacher, Amanda Harris, and a class of Year 8 Visual Arts students in the Jobson Lecture Theatre
Pymble Ladies’ College
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Haptic thinking in the Visual Arts classroom
THE ROLE OF DRAWING AND SKETCHING IN CREATIVE THINKING To contextualise the process of developing ideas by sketching in the visual arts diary, reference can be made to the contemporary Finnish architect and writer Juhani Pallasmaa. Pallasmaa is well-known for his writing about the relationship between the hand and the mind and how drawing is a tool for creative thinking. In his book, The Thinking Hand (2009), Pallasmaa refers to a cognitive loop that emerges in the act of drawing. Through the process of visualising ideas in drawing form, marks made by hand-held pencil on paper are seen by the eyes and the mind responds intuitively through movement of the hand. As the hand drawn image forms on paper, the idea imagined in the brain is reformed. In this cyclical way, a student’s initial sketch made in the visual arts diary maps the emerging idea for a work in progress which has yet to be resolved in concrete form.
LEARNING THROUGH PRINTMAKING Learning through artmaking in Visual Arts is dependent on the fusion of cognitive and manual skills. Thinking is intertwined with haptic experiences of tactile and sensory engagement with matter. The images produced by students through bodily engagement with materials and hand tools represent thinking made concrete by the hand. At the heart of printmaking lies the complex relationship
The artists in residence gave the students insightful practical demonstrations and, in collaboration with the classroom teacher, supported each student’s experimentation with media, tools and techniques. This process was critical in informing students with an understanding of the material properties of linocut and drypoint printmaking for students to effectively develop designs for two different printmaking forms.
between hand and mind.
“The hand grasps the physicality and materiality of thought and turns it into a concrete image.” - Juhani Pallasmaa
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Illuminate Research and Innovation
Top left: Rafael Butron showing students examples of intaglio printmaking
Top right: Rafael demonstrating the inking process for drypoint printing
Bottom image: Anne Starling with Year 8 students sketching their preliminary ideas in the Visual Arts process diary
PRINTMAKING AS A TOOL FOR CREATIVE THINKING
residence and teachers, students were
Whilst haptic ways of thinking through
encouraged to seize the potential in a
doing and making are increasingly less
Having developed and refined their
mark, texture, shape or idea that was
valued in contemporary society, a more
two designs through multiple iterations
not planned or expected. In this way,
open-minded view of how different
of preliminary sketches, students
the art classroom is like a laboratory of
ways of thinking can be nurtured to best
commenced the process of executing
play where conditions for serendipity
support the intellectual and wellbeing
their drawings in linocut and drypoint
are cultivated by the art teacher and
needs of our students is in all our best
media using hand-held lino cutting and
where students find excitement in the
interests. To quote Roger Kneebone,
etching tools.
uncertainty that comes with engaging
Professor of Surgical Education and
with materials, tools and techniques.
Engagement Science at Imperial College
The cutting tool in the hand of the
This process affords the student
London, “doing and thinking are two
student becomes a medium through
opportunities to see value in unexpected
sides of the same coin”.
which the cognitive loop of imagination
outcomes as a result of experimentation,
and image play out in the creative
risk taking and mistake making. By
process of doing things with materials.
promoting curiosity and an open mind,
The enjoyment that comes with learning
students learn to make connections
new skills in the use of hand tools and
between things that would otherwise be
exploring the properties of materials
considered as unconnected; they learn
encourages absolute concentration
to become receptive to alternative ways
on the task. When this focus leads to
of seeing and experiencing the world,
abandoning conscious control for a
and gain confidence in resolving
more intuitive approach, conditions
challenges for which they have no
for creativity are supported. Under
preconceived solution.
the watchful guidance of the artists in
Anne demonstrating the inking and printing process for lino printing
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61
Left: The Shrivelling Future by Lucinda Wlossak, Year 8 2020, drypoint print
Below: Honey Extinction by Bella Jones, Year 8 2020, drypoint print with linocut collage
STUDENT PERSPECTIVES
The Disguise by Abigail Barfield, Year 8 2020, linocut print
“The Artist in Residence experience was
“The Artist in Residence program was
very beneficial to my creative wellbeing
really inspiring, and interesting to watch
as I noticed that throughout the weeks,
and learn how exactly they created their
my creative side came out and I was able
artworks. They seemed to really engage
to put those skills that I didn’t know I had
with the students, and it was very helpful
to the test. It really pushed me to think
having a professional teach and show
outside the box and resulted in a final
you each step of the process of making
product that I was very happy with.”
either the lino or etching.”
- Yvette Volk, Year 8
- Grace Connell, Year 8
“I really liked the fact that we got to do
“While the artists in residence were here,
artworks with the artists and learn new
I felt as though my work in art was much
skills when making artworks by hand. I
better and I worked harder to get better
liked the new artwork skills that we did.
results. I really enjoyed what we did
The lino was fun to learn to carve things.
throughout the process and I felt like the
I definitely think that making these new
artists enjoyed being here too.”
artworks by hand should be used a lot
- Mackenzie Burke, Year 8
more often. This is because we all did learn something new while having fun!” 62
Illuminate Research and Innovation
- Lucy Pennington, Year 8
Haptic thinking in the Visual Arts classroom
Bibliography Dewey, J. (2005). Art as experience, United States: Penguin Books. Danilowitz, B., Horowitz, F.A. and Albers, J. (2006). Josef Albers: To open eyes – at the Bauhaus, Black Mountain College and Yale, United Kingdom: Phaidon Press. Jones, C. (2018). Let’s get physical: Supporting arts based research through haptic learning, Art Libraries Journal, Vol 43, 3, 149-152. DOI: https://doi.org/10.1017/ alj.2018.20 Kneebone, R. (2017). Medicine: Discovery through doing. Nature, 542, 294. DOI: https://doi.org/10.1038/542294a Leski, K. (2015). The Storm of Creativity, United States: MIT Press.Petherbridge, D. (2010). The primacy of drawing: Histories and theories of practice. Norway: Yale University Press. Pallasmaa, J. (2009). The thinking hand, John Wiley and Sons, 2009; Pallasmaa, J. (2011). The embodied image, John Wiley and Sons.
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What is an academic journal? A discussion with Associate Professor Nicole Mockler BY LUCY CLARK AND CHARLOTTE HARTIN, YEAR 10 Year 10 students Lucy Clark and
WHAT IS A JOURNAL?
Charlotte Hartin were inspired to find
An academic journal provides access
out more about the world of academic
to reliable research articles. The articles
journal articles following their Sokratis
have been curated and selected by the
project investigations in 2020. Lucy and
editor, following a peer-review process
Charlotte interviewed Dr Nicole Mockler
by fellow academics. This process of
through a series of email conversations in
selection means that only journal specific
2020 and the beginning of 2021.
articles are published.
INTRODUCTION
Journals are a form of presentation
Dr Nicole Mockler is an Associate Professor at the Sydney School of Education and Social Work, within the University of Sydney. She is also known for her work as the editor of the journal, The Australian Educational Researcher. Dr Mockler’s interest areas include education policy, pedagogy and continuing professional development for teachers - enabling them to support
Dr Nicole Mockler 64
Illuminate Research and Innovation
facilitating the discussion of research. There is a tiered system amongst academic journals, due to the hierarchy within the academic world. The highertiered journals are significantly more selective with the articles they publish, creating levels of prestige. Academic journals are vital as they enable researchers to share their opinions, whilst challenging those of others.
their students through curriculum
Unfortunately, many people struggle to
development and thorough research to
access or interpret scholarly articles. This
provide reliable information regarding the
is due to the elite nature of the academic
enhancement of educational strategies.
community. To delve into this world
Dr Mockler has worked in education
of information and pressing opinions,
for more than 25 years, beginning as a
we must educate people in the skills of
classroom teacher, providing valuable
analysis, interpretation and application of
input as an education consultant, and
the research presented and encourage
eventually as a teacher educator and
the use of academic journals as valuable
educational researcher.
resources to our learning development.
Lucy Clark and Charlotte Hartin
Q&A Professor Mockler, why were you interested in becoming involved in academia? In the last three years before I left
PhD after that as I set up an education
teaching, I was in a school leadership
consultancy focused on helping schools
role leading teacher professional learning. to support teacher learning, and working I became very interested in how good
across independent, Catholic and public
teacher learning could support teachers
schools, as well as with some of the
to best support the learning of their
systems such as the Association of
students. I began working part time
Independent Schools, the Department
on my PhD at the University of Sydney
of Education and the Catholic Schools
and was investigating how teachers’
Office of Broken Bay. After finishing my
professional identity is formed and the
PhD, I decided to move into academia
role of professional learning in that.
full time, and spent six years as a Lecturer and then Senior Lecturer in the School of
After three years of working very, very
Education at the University of Newcastle.
part time on the PhD, I decided to leave
I moved to take up my current role at the
teaching so that I could concentrate
University of Sydney in 2015.
on getting it finished. I ended up taking a few more years to complete the Pymble Ladies’ College
65
What is an academic journal?
What does it mean to be What does the submission the editor of The Australian process look like? Educational Researcher Journal?
What does the review process look like?
Before submitting their paper, authors
If we decide that the paper should
As Editor-in-Chief of The Australian
prepare an anonymised version of the
go for review, then we look for two
Educational Researcher, I lead a team
paper, which includes neither their name,
reviewers who have a good level of
of eight Associate Editors, so I don’t act
nor anything else that might identify
expertise in the area of the paper and
alone, but that said, the final decision
them. All papers submitted to the journal
invite them to review it. If they accept the
over what we publish rests with me.
are subject to double blind review,
invitation, we give them four weeks to
When a paper is submitted to the journal,
meaning that the reviewers don’t know
read the paper, write some constructive
our Co-ordinating Associate Editor will
who the author is (although if the paper
feedback to the author and make a
allocate it to a member of the team to
is published they eventually find out!)
recommendation to the Editorial Team.
‘manage’ (as we call it) over its life with
and the authors don’t know who the
Their recommendation can be ‘Accept’,
the journal. She tries to allocate papers
reviewers are.
‘Request Minor Revisions’, ‘Request Major Revisions’ or ‘Reject’.
according to our own areas of expertise – the team includes people with many different research interests, including educational psychology, educational sociology, education policy studies, curriculum and pedagogy, Aboriginal and Torres Strait Islander Education, mathematics education, literacy education and so on – but sometimes we are also called upon to manage papers outside of our areas. She makes sure that she avoids any known conflicts of interest for the editorial team. So, for example, we don’t manage papers submitted by people who work at the same university as we do, or with whom we have research partnerships, but we also keep a keen eye on that individually.
The first thing we do upon receipt of a manuscript is to read it closely and make
In my time as a journal editor, I have
a decision about whether it should go
never known one paper to be accepted
out for review. We make this first decision
without any revisions, and I could count
on the basis of whether we think the
on one hand the number that are
paper is a good fit for our readership and
accepted after only minor revisions.
the aims of our journal, and whether
The majority of published papers would
we think the quality of the research
have been through a round of major
and writing makes the paper a potential
revisions and then a further round of
candidate for publication. If we decide at
minor ones, and sometimes more.
that point that the paper should not be sent to reviewers, we write the authors
When the reviews come in, the editor
some feedback, to give them an idea of
managing the paper makes an on-
what they might do to improve the paper
balance decision, based on their own
to get it ready for submitting elsewhere.
reading of the paper and the comments and recommendations of the reviewers. Sometimes it’s a relatively straightforward matter – for example where both reviewers recommend major revisions and their suggestions for improvement are similar – but sometimes it’s more complex, for example if one reviewer has recommended minor revisions and the other has recommended the paper be rejected. In those difficult cases, especially if the paper isn’t directly in an area where the managing editor or I have great expertise, we will go to a third
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reviewer to help us make the decision.
“ Rejection is never easy and while in the academic world we tend to grow a ‘thick skin’ relatively quickly – there’s generally a lot of rejection to contend with! In my experience, the sting never really goes out of it. ” What happens if a paper is rejected?
How do people deal with rejection?
Rejection is never easy and while in the
I don’t think there’s an academic alive
academic world we tend to grow a ‘thick
who hasn’t had at least one paper
skin’ relatively quickly – there’s generally
rejected at some point in their career.
a lot of rejection to contend with! In my
The trick is to then build on the feedback
experience, the sting never really goes
that comes along with it and not let
out of it. One of the biggest challenges
yourself lose momentum with the work.
for early career researchers (which is
Putting it ‘in the bin’ is hardly ever the
the name we give to people who are
right response, but it can be hard not
within their first five years post-doctorate)
to sometimes.
is to not let the critique and rejection undermine their confidence in themselves Rejection from one journal doesn’t preclude you from reworking the paper as researchers and academics. and resubmitting it somewhere else It is really important for early career
– and it’s not always the case that the
academics to be well supported as
‘somewhere else’ is a lesser journal,
they establish themselves, and good
as sometimes it’s more about the fit
mentoring is a really important part of
between the paper and the journal and
this. As a journal editor, I can’t prevent
the community of readers the journal
people from having their work rejected,
has. The more experienced we are as
but I can ensure that, as far as possible,
academics the better we tend to get at
rejection comes with constructive
pitching our work to the right journal.
FROM THE AUTHORS We feel extremely privileged to share this opportunity to learn about Dr Mockler’s work in academia, as well as developing a deeper understanding of the process involved in developing the highest quality academic journals. The opportunity to research this paper and interview Dr Mockler taught us about the submission, review and rejection process. It enabled us to gain further insight into the elite world of academia, and how it is relevant to our everyday experiences. This project has inspired us to begin our ‘Junior Journal Club’, where we are able to explore the world of academia and further develop inquiring minds alongside our peers. We hope to encourage a generation that is well informed and educated regarding academic journals, as they are often inaccessible or difficult to understand for the vast majority of the population.
feedback that both affirms what’s good about the work and provides some tangible and practical advice for how to improve it. That’s one of the things that occupies a lot of time and headspace for me as an editor.
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67
Global skills in Religion and Ethics BY MARY NICOLAS In an increasingly globalised world,
“inquiring, knowledgeable and caring
there is a call to offer an education
young people who help to create
that reflects the shift in our society
a better and more peaceful world
with a holistic curriculum that prepares
through intercultural understanding and
students for life beyond school in the
respect” (2017). These global skills allow
21st century. At the core of my own
an individual to think critically, solve
teaching philosophy is the belief that
problems and work collaboratively.
students need opportunities to embark on a learning journey in which they are
Twenty-first century learning is central
not told what to think or how to think,
to Pymble’s philosophy, making the
but rather to be equipped with the skills
development of global skills an essential
necessary to become critically thinking
component of our four strategic
and empathetic global citizens.
pillars; Academic Intelligence, Social Intelligence, Emotional Intelligence
The skills needed to succeed in today’s
and Digital Intelligence, which are
environment supersede content
collectively designed to prepare students
knowledge. A global set of transferable
for success in a rapidly changing world.
skills is necessary for students to be able
This is achieved through embedding
to thrive beyond the classroom. After
21st century skills - otherwise known reading Oxford University’s position paper as the ‘6 Cs of Deep Learning’ (2020) on ‘Global Skills’, I was prompted (Communication, Collaboration, to enrol in the online course ‘Global
Critical Thinking, Creativity, Citizenship,
Skills: Empowering 21st Century Learners’
Character) - into the curriculum. Each of
through the University’s Department
these frameworks and their respective
for Continuing Education. Global skills
competencies highlight the importance
are grouped by Oxford University into
of human connection and wellbeing. An
five clusters: Communication and
environment that supports deep learning
Collaboration; Creativity and Critical
is one that promotes social and mental
thinking; Intercultural Competence
wellbeing, in turn optimising the student
and Citizenship; Emotional Self-
learning experience.
regulation and Wellbeing; and Digital
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Illuminate Research and Innovation
Literacies, which make up a ‘Learner
Global skills are a vital part of education
Portfolio’, much like the International
for today’s students. According to the
Baccalaureate’s (IB) Learner Profile,
Organisation for Economic Co-operation
through which the IB aims to develop
and Development (OECD) (2018), this
presents an opportunity and a challenge, whereby students must learn to engage
100
in a more interconnected world through appreciating, understanding and benefitting from cultural differences - a
64%
lifelong process that education can shape. This speaks to my heart as an educator and as a parent. Religion and Ethics as taught at Pymble is therefore positioned to prepare
17%
students for 21st century learning as it is a skills based subject with a focus on deep learning. In 2020, Year 7 students
5%
5%
5%
5% (1)
5% (1)
0
had the opportunity to engage in a
5% (1)
17% (3)
64% (11)
pilot unit on Aboriginal Spirituality and Belief Systems, designed by Jacinta
Year 7 Aboriginal Spirituality and Belief Systems Pre Poll
Wells, Head of Religion and Ethics. The learning intention for this unit lies within
100
the dimension of Citizenship, whereby
86%
students develop an understanding and empathy towards diverse worldviews and values. In particular, we focused on the values of our First Nations Peoples and how they interact with the world around them, both in the past and the present. We achieved this aim by engaging students with a pre-polling of their knowledge on Aboriginal Spirituality and Belief Systems in order to establish our baseline of growth. The pre and post polling reflected that student knowledge
0
0%
0%
0% (0)
0% (0)
6% 6% (1)
6% 86% (13)
6% (1)
and understanding improved with a 60 minute lesson with respect to the
Year 7 Aboriginal Spirituality and Belief Systems Post Poll
learning intention.
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Global skills in Religon and Ethics
We also flipped the classroom and shifted invited our Year 9 Indigenous students to
Below are some reflections from our Year 7 students about why the experience was valuable:
from teacher-led to student-centred
share their expert knowledge with Year 7
learning, whereby students worked
by documenting their knowledge on film.
collaboratively to explore source material
Through sharing their stories with Year 7,
relating to Indigenous history, culture
they provided our younger students with
“It was valuable to learn about
and spirituality. Following this, and in
the opportunity to learn from authentic
Aboriginal Spirituality directly from
order for students to receive an authentic
sources and gain a deeper understanding
Indigenous students.”
learning experience and truly understand
of Indigenous culture, Aboriginal
Aboriginal culture, people and spirit, we
spirituality and its significance today.
“It was a valuable film to watch in Religion classes, as it taught me about a unique belief system. I discovered that there are Indigenous countries located all across Australia, and how the girls have their own totems, that are symbolic to their own identity.” “I think that it was a valuable film to watch in our lesson as the Year 9 girls all explained to us openly about their Indigenous cultures and how in different areas they have different Dreaming stories. I learned about what animals represent their areas and how it shapes their responsibilities.” “I think that it was very important to listen to the film that the Year 9 girls created because they are sharing some of their culture and background. I found it very interesting to learn about their Aboriginal spirits and it was very engaging to learn it from students in our school, who are around our age.”
Year 9 Indigenous students - Elise Djerrkura, Mika Tyson, Georgia Stuart, Amarley Bron. 70
Illuminate Research and Innovation
Students also reflected on new information they acquired: Student feedback gave us valuable insight into the benefit and effectiveness of incorporating global skills into the unit and, in particular, through creating authentic learning experiences. This unit on Aboriginal Spirituality and Belief Systems aligns to Oxford University’s global skills of Intercultural Competence and Citizenship and Emotional SelfRegulation and Wellbeing, as well as to Pymble’s Social Intelligence pillar in which the focus is on ‘diversity as a path to unity’. We are exploring this important area through embedding Indigenous Australian perspectives into the curriculum and classroom practices to enable a richer understanding of Australia’s history and culture. Through offering choice and authenticity, we engaged students in a learning experience that engaged their thinking brain and emotional brain. A future focused curriculum for the 21st century must, therefore, focus on concept-based, inquiry-led, studentcentred learning that promotes social and
“Offering choice and authenticity, we engaged students in a learning experience that engaged their thinking and emotional brain.”
intellectual wellbeing. Despite the 21st century ushering an age of technological transformation, soft skills remain essential as they cannot be automated. A global
References
skills-embedded curriculum such as
International Baccalaureate Organisation. (2017). What is an IB Education? Cardiff, Wales: IBO. Retrieved from https://www.ibo. org/globalassets/what-is-an-ib-education2017-en.pdf. OECD. (2018). PISA 2018 Assessment and Analytical Framework. Paris, France: OECD Publishing. Retrieved from https://doi. org/10.1787/b25efab8-en. Oxford University Press. (2020). Global Skills: Creating empowered 21st century citizens. Oxford, England: OUP.
Religion and Ethics is positioned to create a blueprint to prepare today’s students for the world of tomorrow, empowering learners to become informed and empathetic global citizens who are well equipped for success in a rapidly changing environment.
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71
A (research) hero’s journey… BY VICTORIA ADAMOVICH
Once upon a time, in a school not so far away, a teacher looked at her notes on the English as an Additional Language and Dialect (EALD) students in the Junior School…and asked a question. EXPOSITION
RISING ACTION
Reading together with students was a
For some time, I had been interested
precious time, as the girls often did not
in doing a Masters in Research, but I
have an English speaker to read aloud
waited for the right question to come
with at home. Since our reading time was
up: a topic that would be relevant to my
quiet, one-to-one time, it also allowed
teaching practice and interesting enough
me to talk to the students about their
to devote my waking hours to answering.
lives and families.
Now I had a question, how do I go about answering it?
INCITING INCIDENT My notes showed many EALD students were the only child at home; some had not seen their father for many months, some had grandparents caring for them. For some girls, I felt school and sometimes I were the only constants in the girls’ lives with the revolving door of mum, dad, grandma or grandpa coming and going throughout the year. I wondered, “How do these family structures impact the girls’ wellbeing?”
I jumped at the opportunity to join the Pymble Reflect-Review-Renew (RRRPL) Professional Learning Research group in 2019. I listened to other teachers doing action research or pursuing more formalised Masters or PhDs. It wasn’t as bad as some horror stories I’d heard about pursuing post-graduate research and the group’s real-life experiences gave me the confidence to apply for a Masters at the University of Technology Sydney (UTS). With some help, I found a supervisor in my field. Hooray! Armed with my metaphorical sword I was away to slay the research dragon!
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Illuminate Research and Innovation
The meadows of research literature
With my access to the UTS library,
are laden with acronyms, theoretical
the world of research was at my
frameworks written by people with lots
fingertips. One could go down rabbit
of titles. Staying humble and asking
holes quite quickly: The single child
(seemingly dumb) questions, I learned
policy of China; migrant experiences
from colleagues and other UTS students
in Australia; EALD student transition
about their research process and
programs in schools in Melbourne; the
methodologies. It was so invigorating
astronaut parent and parachute children
discussing my research question with
phenomena of Hong Kong migrants in
my supervisor, Dr Christina Ho from the
Australia, New Zealand, Canada, and
University of Technology Sydney, who
the USA; the stress of acculturation
has written a book about students and
or how migrants cope with moving
families from selective schools in Sydney,
countries; transnational grandparenting…
Aspiration and Anxiety Asian Migrants and
It was all endlessly fascinating, but I
Australian Schooling. The best part of my
had to be more discerning with the
Masters has been the reading - what is
reading to avoid burying myself in the
formally termed the literature review.
literature snowstorm.
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73
A (research) hero’s journey
CRISIS As every good hero knows, there had to
June 2019
Formulate my research question.
July 2019
Join Pymble Professional Learning group, discuss and learn from group about possibilities of research.
October 2019
Find a supervisor at UTS.
November 2019
Submit Masters of Research application outlining research purpose, literature review and methodology (survey and interviews).
December 2019
Be accepted by UTS for Masters of Research
June 2020
Submit ethics application for Pymble Ethics Committee to approve the conduct of survey and interviews.
June 2020
Submit ethics application for UTS Ethics Committee to approve the conduct of survey and interviews.
August 2020
Pass ethics approval of both committees and start stage 1 data collection (survey students).
be a crisis in my journey. All was going swimmingly … until it wasn’t. Uh-oh. The crisis was a simple, silly slip. The ethics application details the why, what, how and when of the research. The application is 20 or more pages and involves a really thorough look at every aspect of the research: Why this methodology, why ask these students, why not those, what will you do with the data, how to protect the students, how to do a risk-assessment on myself the researcher. After six months of preparation, crossing every ’t’ and dotting the ‘i’s - I finally submitted it. I had slayed the ethicsapplication-monster and now I could
.
bask in the calm after the frenzied storm. Or so I thought. Instead the application sat in the internet-ether aka the University’s IT system – I had forgotten to press the ‘submit’ button! The calm stretched for a month, then
Every teacher knows how lightning fast Term 4 flies. There was nothing I could do but stare at my inbox every day and chew a few more fingernails.
another. I was getting nervous as my timetable for data collection was set for
CLIMAX
Term 3 2020. Did the Committee hate the
Two weeks before the end of Term 4
research question? Was my methodology
in November 2020 and many more
of a quantitative survey followed by
iterations to the ethics application later –
interviews somehow too radical or
I conducted the survey as planned with
unethical? Had COVID-19 fired staff at UTS Year 5 students. More than 100 students and left no one to review my application? consented to take the survey. With
DENOUEMENT, END Since this is my own heroic adventure, I can choose the ending:
FANTASY ENDING I discover amazing eye-opening information that confirms my hypothesis. In 2021, the rabid-COVID-ogre has been banished and I can still meet students and parents face-to-face for the stage 2 interviews.
A few phone calls to the UTS Higher
immense gratitude to the ever-flexible
When I send out invites to interviews,
Degree Research office revealed why they
Year 5 teachers – my 20-minute survey
I get an overwhelming response from
hadn’t received my application. However,
was slotted in on a Friday. Crisis averted,
students and parents vying to participate.
by then the University Ethics Committee
data collection done, and now for
I transcribe the interviews and write
could not review my application until
the denouement!
revealing analysis and a masterpiece of a
mid-October, at the start of Term 4. 74
Illuminate Research and Innovation
Masters thesis about my research.
It gets published and academics contact
Studying, meeting deadlines and turning
me from around the world to speak
in assignments has made me a positive
about my ground-breaking research. My
role model for my children, who see mum
supervisor commends me for extending
balancing family, study and work. With
knowledge in my field. I design wellbeing
colleagues, the knowledge gained from
programs for EALD students and families,
this journey has enabled me to speak
and we all live happily ever after.
with authority and I am eager to find ways to translate my research findings
REALISTIC ENDING
and literature in the field into digestible
At the time of writing, I have analysed
information teachers and parents can use
the survey results and will present to
to understand students better.
Pymble Junior School leadership in Term 1 2021. A little later, I will present my Stage 1 Masters review to my supervisors and other researchers. The discussion and questions are a welcome critical check on my data
In the end, dear reader, I hope you have taken heart from my research journey and will take the leap into your own challenging and rewarding research journey.
and methodology. When I started on this journey, I did not see myself as a researcher, and I’m still not sure if doing this Masters makes me one. It has, however, definitely given me insight into the work of academics and tertiary education which is a nice counterbalance to teaching at the primary end. Pymble Ladies’ College
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pymblelc.nsw.edu.au
A school of the Uniting Church in Australia for girls from Kindergarten to Year 12, with boarding available from Year 7. ABN 78 619140 464. CRICOS 03288K
2021-PUB-1v8
Avon Road, Pymble NSW 2073 PO Box 136, North Ryde BC NSW 1670 +61 2 9855 7799
