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- Herausgeber: Crown House Publishing
- Kategorie: Bildung
- Sprache: Englisch
- Veröffentlichungsjahr: 2014
Opening Doors provides 20 units of work which includes poetry and prose from our literary heritage. Each unit of work has exciting stimulus material with creative suggestions for ways in which the material can be used for outstanding learning possibilities. Visuals and innovative ideas to help pupils' access the meaning and wonder of the text which will add to the appeal. Pupils are encouraged, throughout the units of work, to engage with language, invent questions and write with flair and accuracy, bringing literature from the past alive for them and opening doors to further reading and exploration. Also included is an introduction to the concepts used in the book and suggestions about a range of methods and pathways which can lead to language development and literary appreciation. Although the units are all different and have a range of poetry and prose for teachers to use, each unit will have some common sections to give a coherent and ambitious approach. Opening Doors both informs and excites, it gives fresh resources and suggests new ways of going on the journey to outstanding literacy achievement. For 7-11 year olds.
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OPENING DOORS to FAMOUS POETRY and PROSE
Ideas and resources for accessing literary heritage works
BOB COX
This book is dedicated to all the teachers with whom I have worked who are opening doors for their pupils, and to my own teachers, years ago, who opened mine.
Contents
Acknowledgements
I have many people to thank!
Constructive feedback from teachers and some very creative writing from pupils have helped me to believe in the value of this book. The ‘can do’ encouragement from those listed below has been much appreciated!
I would like to thank:
Hilary Prendergast and the staff and pupils of St Francis Primary, Ascot
Linda, Amy, the staff and pupils of John Rankin Infant and Junior, Newbury
The staff and pupils of Ravenscote Junior School, Camberley
The staff and pupils of Newtown Primary, Gosport
The staff and pupils of The Grange School, Farnborough
The staff and pupils of Churchfields Junior, South Woodford. Thanks Wendy!
The staff and pupils of Hook Junior School, near Basingstoke
The staff and pupils of Wicor Primary, Fareham
All the pupils who come to my Saturday Challenge enrichment school at Crookham Junior, Fleet
Hampshire heads and teachers who have been on my courses and trialled materials with such interest
The Buckinghamshire teachers who supported my ideas when they were just developing
The fantastic team at Crown House Publishing for giving such good advice
The various companies giving me opportunities to work with teachers, especially Peak Consultancy, Osiris Educational, Optimus Education and Independent Thinking Ltd.
My daughter, Vicky, whose illustrations have contributed so much to the book
The late Sue Freeman with whom I worked for many years. Your influence and passion for English literature lives on!
A very little key will open a very heavy door.
Charles Dickens, ‘Hunted Down’ (1859)
Introduction
In my work supporting hundreds of schools in the quest for outstanding learning there is always huge interest from teachers about using challenging literature from the past. Primary schools have never lacked enthusiasm for projects featuring Shakespeare or whole days with a Dickens focus, but I began to note some common questions in my discussions with teachers:
Where can I find new prose extracts and poems to deepen my knowledge?
How can I find out about creative approaches that my pupils will enjoy?
How can these resources be used for outstanding English lessons?
How can my pupils gain access to literary heritage works in a way that is enjoyable as well as challenging?
How can I plan from the top to include the more able but still ensure all pupils can access fascinating ideas?
This last point led to my ‘Opening Doors’ title.
Sometimes, teachers say to me that there are books about learning theory which are fascinating, and there are textbooks with varied questions which are practical. In Opening Doors to Famous Poetry and Prose I have tried to combine the two by devising whole units of learning which are ready to use directly with your pupils, combined with plenty of ‘Bob says …’ tips and advice to support methodology and first principles. All of the resources in the book are available at http://crownhouse.co.uk/featured/Opening_Doors_by_Bob_Cox so that you can use them in your classroom. In short, theory and practice coexist to inspire outstanding English using some of our greatest writers as models.
New journeys in English: the theory
Using literary heritage texts – I am using the term very loosely to mean famous writings from the past which still influence the present – is justified on cultural grounds alone. Teachers have the huge responsibility of passing on an illustrious literary legacy. Successful authors writing in English are known around the world – visitors flock daily to the Brontë’s Haworth, Hardy’s Wessex and Shakespeare’s Stratford-upon-Avon. I have taken coachloads of pupils across Britain and Ireland, discovering Joyce’s Martello tower outside Dublin and following Sir Walter Scott’s Rob Roy trail in Scotland.
When introduced to great writers and great writing, children start to discover something deeper, more imaginative and more enduring than that which is understood in a moment and forgotten just as quickly. Of course, I have only been able to select a limited number of texts, so the idea is that you will be inspired to find new writers at the same time as your pupils. My selections are based around texts and ideas which I have used successfully in the classroom to stimulate high level reading and writing, rather than there being any suggestion that these writers are ‘better’ than those I have omitted. The units include American, Irish, Scottish, French and English writers, while the wider reading includes many others, past and present, whose work originates from around the world and may have been translated into English. However, the ‘Opening Doors’ theme of the book means that I have chiefly focused on celebrated literature from the past to elicit creative, ambitious and high quality work in English.
The need for young people to make more progress in English is a concern for educators, for parents, for the global economy and, of course, for Ofsted inspectors. However, high standards, exciting outcomes and the sheer exuberance of writing, as it should be at Key Stage 2, will only come with challenging texts as a stimulus.
Bob says …
There are more ideas to discover, more words to explore and more styles to understand in these extracts than some of your pupils will have encountered in their education up to now. Using them should help deeper learning to become the norm in your literacy lessons and the potential for outstanding lessons is greatly increased.
If more of our pupils are going to start secondary school at a higher level of achievement, then it is challenging texts and quality teaching that will help them to reach the stage when they are regularly:
Reading and understanding ‘between the lines’.
Inferring and deducing.
Being engrossed in increasingly challenging and wider reading.
Writing in varied styles, appropriate to the context or audience.
Producing well-crafted and versatile writing – for example, exploring irony and parody.
Using punctuation and grammar in accurate and varied ways to enhance meaning.
An impromptu list like mine is just a guide, but Geoff Dean’s English for Gifted and Talented Students (2008), although about secondary English, has useful research about where very able writers should be at the start of Year 7. My list is a condensed version of the findings of this research. Setting a high benchmark for the standards that the very best might reach in Year 7 is a useful starting point for primary schools as it sets an aspirational agenda from the start.
All the writers in the bibliography have provided me with ideas and inspiration to develop a methodology to enable high level literacy to thrive. I have demonstrated this successfully in workshops with pupils and in consultancy briefs with teachers. Carol Dweck’s work on mindsets (2006), Barry Hymer’s thinking on gifted and talented education (2009) and Guy Claxton’s writing on ‘building learning power’ (2002) have all been influential. In addition, Deborah Eyre’s (2011) Room at the Top report has given impetus to my ongoing search for excellence in the classroom with her recommendation to create ‘more room at the top for more’.
Of course, the poets and novelists themselves continue to dazzle us: Hardy’s glimpses of the past in ‘Old Furniture’; Browning’s ‘Pied Piper of Hamelin’ leaving the limping boy behind to dream of an enchanted land; Dickinson’s ‘Snake’ curling around on the farmstead waiting to pounce; Wells’s astronauts seeing the first vistas of a new, unknown world. Their originality is the principal influence on us all.
Bob says …
Our primary inspiration must come from the writing itself, our own reading of the classics and their enduring appeal. Only excellent models are likely to stimulate excellent outcomes.
With so many subjects to teach, primary teachers always need support to use literary texts creatively, to grow their own knowledge and to find new routes into English teaching. In using these resources, I hope teachers will be encouraged to find out more about the featured writers and that this book will be the start of a journey for all concerned.
The poems and extracts I have included offer the opportunity to introduce challenging ideas and concepts which are often missing from more simple texts. When Charlotte Mew writes hauntingly about ‘The Call’, I find pupils in my workshops talking about eerie atmospheres, the unexpected and even spiritual feelings. When I explore ‘The Land of Counterpane’, there is much talk about feeling ill, being bored, finding things to do and sometimes loneliness. It is then an easy jump to discuss Stevenson’s language and rhythm and for the children to write their own sharp and creative pieces.
Without challenging texts to inspire pupils to go ‘beyond the limit’ they are less likely to experiment, less likely to imitate clever models and less likely to ask questions about style, irony, rhyme or meaning. The key has always been to use the right kinds of methods to open doors. Without access strategies to challenging texts, rather than inspiring a love of reading and writing for life, the opposite can be the case.
When the doors have been opened, your pupils can begin to read more whole texts, to write with imagination and to broaden their literary landscape ‘beyond the limit’. In each unit I have either suggested further reading on a chosen author or included comparisons that could be made with more modern writers. I am hoping your pupils will be left with an understanding about how the past continues to influence the present.
Never is this more visible than in the media and in the way that films, television and the internet have continued to keep the classics alive with memorable adaptations and animations. I have included examples of how pupils can engage with multimedia reworkings of some of the featured texts via film, cartoons, television, the internet and graphic novels. Great teachers are using multimedia approaches to enhance pupils’ understanding of the original texts and to drive high level outcomes in English. Comparing films with texts promotes evaluative thinking and often leads to a greater appreciation of both media.
Structure
The first two parts of the book are organised into fifteen units of learning on poetry and prose. Each unit uses the same format, and I also include resources to work with and theoretical principles to reflect on. You might want to use this book in an informal way, browsing through to find the units which interest you, so each unit is self-contained. However, the following principles are applied throughout:
The need to integrate extension and create more room at the top for more.
The importance of access strategies.
The need to ensure that wider reading makes an impact centrally and not as a discrete activity.
The necessity to plan from the top and use support resources.
The requirement to adapt lesson plans and to be flexible, so that ‘beyond the limit’ work is offered at the point of need.
The central importance of the language, the excitement and the quirky originality of the texts.
Any specific terms or recommended techniques appear in bold type and are listed in the glossary.
The last five units are based specifically around poetry, but the emphasis is on the link between reading the poem and plunging into writing tasks. I have called this the javelin approach – where you aim high and get pens or computers into action very quickly. These units focus on using great poems to spur on your young pupils to find the language they need to shape and craft exciting work. You can build on all the principles you have enjoyed from the first fifteen units and apply them as appropriate to a looser framework. So, for the last five units, please practise inventing your own access strategies!
I’ve called the final section ‘The Other Side of the Door’, in the hope that a great deal of inspired writing will now take place. Teachers often ask me to focus on writing ideas when I’m in schools, so this section has plenty of these to help your pupils build the confidence necessary to excel.
The most common plea I hear from keen young writers is, ‘Give me more time to get absorbed and go for it!’ Some poems are very short but that only goes to show that even a single original or telling phrase from a great writer can be enough to jump-start creative writing in the present! I am finding that teachers are learning how to offer a number of access strategies to some but fewer to others. They are ready to fly anyhow!
I outline on page 6 the structure I have used in Parts 1 and 2 – I also use these principles in my training sessions. The figure provides a visual way to understand the methodology. I have developed an open-ended approach, relying on engagement and discovery, which leaves huge scope for creative teachers to interpret and innovate. It is a framework to teach English by, planning from and beyond the top, alongside the belief that great teaching of challenging texts can take a pupil further, higher and deeper.
Access strategies
Many schemes of work for English lessons have been conditioned by conventional ideas of linear progress, often starting with a learning objective on the board. However, lots of our pupils are non-linear learners and have been influenced by a lifestyle of personal choice, ICT and learning by doing. Much better, then, to imitate their varied learning styles by setting a challenge straight away – perhaps using an extract from the text, setting up a visual or giving the pupils a quote to read. Present the excitement of the text as a mystery to be solved, a puzzle to be explored, a fascination to be uncovered – they will love it!
This is the time to say as little as possible in order to elicit lots of questions from the children and to enable them to discover new words and techniques. Short-burst writing is often useful as a starter, but make sure they are totally immersed in the work. Encourage them to write something unusual, clever or strange! Texts like Alice’s Adventures in Wonderland, for example, will inspire them to produce the most fabulous pieces of ‘nonsense’, and the learning about diverse language use will be impressive.
At this stage, there can be some very effective teaching of spelling, punctuation and grammar. When your pupils are at their most enthusiastic is the time to strike! As they feed back their drafts and quirky possibilities, pick up on incorrect spellings in an inquisitive way. Can the suffix ‘-ly’ help us to spell ‘definitely’ properly? Why does Lewis Carroll use ‘curiouser’ when in some contexts it would be grammatically incorrect? It is also possible to follow up their interest in language with other spellings with a similar root or sound to maximise learning. If this work is done in context, and in a fun way, you should see quicker improvements in spelling, punctuation and grammar. Use this kind of approach throughout the units whenever new words pop up.
The text revealed
Following on from the access strategies, there is generally a high level of curiosity about reading the whole text – the doors are open! Pupils love the awesome whirlpool described by Poe and the chilling description of Miss Havisham. Now is a good time to discover the learning objectives together because there is so much to talk about. This should be an active process, and the children may well suggest even harder objectives than the ones you had in mind. This will help to clarify assessment expectations and assist with aspirational goal-setting.
The key to positive energy in your classroom is the engagement your pupils have with language and learning. The way the access strategies have hooked their interest should now be tangible. I have seen pupils poring over texts at this stage, reading quite difficult language with relish, because their confidence and interest is high.
Bob says …
Watch the difference between handing out a text now, when they have already appreciated its style and meaning, compared with a cold reading just a few minutes into the lesson with no prior knowledge.
Opening questions: reading skills
In my sessions with teachers and pupils, I recommend a hardest question first pedagogy. This is a reversal of the normal convention but it helps teachers to plan from and beyond the top. I have found, time and time again, that when open and conceptual questions are set first, there is genuine surprise from teachers that so many pupils can access something harder.
Bob says …
Until harder learning opportunities are set, no teacher knows how well a pupil may do.
Throughout the units, I emphasise the use of support resources which can be used when there is a need. Those resources are human too – our amazing teaching assistants can and should be utilised to support able learners, as appropriate, when the challenge is tough, as it should be. Even prompt questions or lists of hints can be useful resources to open more doors or act to ignite thinking or help pupils to get unstuck.
This is not to say that knowledge or comprehension questions should be avoided; it’s more a question of knowing when to use them for those pupils who need them. Schools are finding that applications downloaded onto tablets can be really useful for further personalisation and to explore language use, technical terms and parts of speech.1 This is learning that is non-linear and introduced via discovery methods.
The schools in which I work are increasingly pioneering different styles of lessons and incorporating a high level of challenge. These resources suit more varied approaches to teaching and learning and address the need to make better progress with all pupils. I recommend moving away from the standard three- or four-part lesson (which is like a ladder) and shifting to lessons shaped like mazes (with many routes to the middle), jigsaws (a cognitive field coming together) or javelins (heading straight for high challenge). Variety is everything and, across the curriculum, exciting challenges with many layers of possibility are crucial for outstanding learning.
Developing a wider repertoire of skills can only be a good thing. While linear learning will still be a good method for certain objectives, a mindset for discovering many other shapes to lesson planning will add so much more potential for excellence.
Bob says …
Without challenging texts, the layers of possibility are not there to be discovered.
Contexts for writing
If the opening engagements have supported access and the pupils’ comprehension has been deepened by the reading tasks, then creative writing becomes the most natural process of all. Speaking, listening, reading and writing have sometimes been artificially separated, but most outstanding English lessons include the development of all four modes of language. Many teachers have observed that the most impressive early writing comes from pupils who have been regularly read to at home and who can talk about their reading.
I have made suggestions for inventive tasks which are hard yet fascinating. Some young writers have a tendency to play it safe with a familiar genre and known vocabulary, so the units are designed to open doors to more imaginative possibilities. Often these are based around style imitation or experimentation with parody, irony or continuation. The aim is always that the pupils will see that classic literature has endured for a reason.
The works of these celebrated authors are excellent models for stimulating writing and supporting creativity. Your pupils’ written standards will improve and this will be reflected in formal summative assessment. The feedback I get from schools is that their pupils surprise them when they attempt harder pieces – and the more choice the better! I anticipate that new talent will emerge in clusters at your school.
Bob says …
I recommend using the contexts for writing very liberally – add your own suggestions too. Alternatively, ask your pupils to compile a list of challenging titles and select their favourite to read.
One of the wonders of creative writing is that teachers and parents will be perpetually surprised at what their pupil or child has achieved and how unusual it can be. If we can use flexible systems like ‘Opening doors’, with its ‘Wings to fly’ section, we can maximise the possibility of originality emerging. The best writing outcomes I have seen arise from the complex interplay of the stimulus material, discussion, prior literacy acquisition and individual inspiration. That inspiration is often driven by you, the teacher. I hope that you will find your own voice within the flexible structures, principles and texts I have recommended. Your interventions with extra titles and additional routes are critical. Your explorations of grammar for meaning and archaic language for effect will bring the learning alive. You may choose to move on to the writing stage more quickly or linger on the access methods for longer if some pupils are struggling. There is space for you to interpret, insert your own ideas and go at your own pace.
Beyond the limit
Going beyond the limit should be planned very flexibly. The units are challenging, but teachers are the best judges of when to include extension and when to introduce comparative texts or multimedia approaches. Extension is always best when programmed into the overall scheme. It’s a good idea for the most able, in particular, to view extension as a norm and not extra work when they finish. Any kind of bolt-on activity can start to seem like a punishment!
You may wish to encourage beyond the limit thinking throughout the unit. There is nothing particularly linear about the work I propose, which is why I advocate methods like hardest question first or discovering objectives later in the progress. I have made suggestions for wider reading, film clips and more evaluative or analytical possibilities to broaden and deepen the learning.
The objective of independent learning is implicit, since independent thinking and goal-setting needs to be encouraged as a habit, not as a separate project. Delving into great works of literature should do just that. The ‘Did you know?’ section aims to support pupils’ investigations and to help them understand the long-term impact of writers’ work. I have also included specific extension ideas along the usual lines of creative thinking and exploring techniques and the imagination.
It’s a great idea for pupils to use the internet to find other texts by the same writer and to deepen their appreciation of literature. Some of the texts I have chosen are very well known, but I am hoping that others will be new to you. Overall, I have selected texts that have scope for challenge and to stimulate creative writing. For example, Poe’s ‘Maelström’ can seem baffling at first, but I have seen teachers use the access strategies to good effect and turn the lesson into a terrific exploration of adventure, danger and even philosophy.
Reflecting on impact
I have included a final word in each unit on the importance of impact. During the past ten to twenty years of educational change, it has been all too easy to get bogged down in fine detail at the expense of the big idea. The tools of teaching have been taken out of the toolbox without knowing what job is being tackled. Objectives have been up on the wall, challenge boxes have been filled in for the term and exact timings have been set, but not enough attention has been paid to the value of anticipated outcomes. Great teachers are always aware of why they use a particular tool because they know what the inspiring possibilities of the lesson are.
By reflecting on impact, I am emphasising the value of considering how each unit can inspire your pupils, including the most able, to new achievements. New learning for all and progress for all should be apparent in outstanding lessons. The units are less about tasks to work through and more about ensuring that deeper and wider accomplishment is the outcome.
Bob says …
A book is just a guide, a signpost, a support. If you can open the door a little wider to literary appreciation and better writing, then one day your pupils will open it for someone else!
1 For example, Gobby Academy, which was created by Ian Warwick, working with the University of Warwick, and is based on Lynn Cameron’s work on academic literacy.
Part 1
Opening doors to poetry
Unit 1
Voices on the Sharp Air
‘The Call’ by Charlotte Mew
Access strategies
One principle I would recommend throughout your work using challenging literature is to design specific strategies to support access to the text. Once your pupils start to ask questions, feel curiosity and offer ideas, the chances of making an impact escalate.
Try projecting the following quote from Charlotte Mew’s ‘The Call’ onto the whiteboard as your pupils walk in:
Resource 1
To-night we heard a call,
A rattle on the window-pane,
A voice on the sharp air,
And felt a breath stirring our hair,
A flame within us: Something swift and tall
Swept in and out and that was all.
Ask them to say nothing to each other but on different coloured sticky notes to write down:
Three questions they would ask about words or meanings which they don’t understand.
What each of them thinks the ‘call’ might be.
What these words make them feel and why.
Then ask the pupils to pair up and explore their ideas. The buzz will be enormous! Ask them to share their ideas with you. This will give you the opportunity to pick out shy pupils to answer questions and ensure that able pupils are challenged to evaluate, give evidence and be original. This is think, pair, share – a great technique for varying thinking and expression.
Now, how many are ready to throw the javelin high and attempt more? Ask the children how the punctuation contributes to the meaning. Will they mention the colon setting up something mysterious with the pause it brings? Will they describe the way the commas help to build the images one after another (the window-pane, the sharp air, breath stirring hair)?
Another possible javelin question is, how does the rhyming and layout contribute to the meaning?
Javelin questions follow the principle of aiming as high as possible and encouraging pupils to reach for the sky. If expectation is set high, teachers often say they are amazed at how well their pupils perform – and it’s not always the children they initially thought would excel.
Now set the children the following task: Write the next five lines of the poem beginning, ‘Was it a …?’
Bob says …
As a regular habit, set the hardest question first and then use support resources for the less able. You will be encouraging all pupils to practise open-ended conceptual thinking while supporting others at the optimum moment of need.
Excellent responses will:
Imitate the rhyme scheme closely.
Continue with the same mysterious theme.
Use punctuation to enhance meaning.
Potential support resources for those who need them could include:
An illustration of the room in the poem or the chance to draw aspects of the room (like the illustration on page 17).
Providing the next few lines of the poem.
‘Mystery’ vocabulary on cards which could prompt ideas about suspense.
Examples of other poems which build tension.
Resource 2
The real skill in teaching, and it’s hard to get it right, is to know when to offer support resources and when to prompt pupils to get themselves unstuck. I have taught a lot of pupils who were more than capable of thinking harder, looking up words and generally being more independent than they sometimes liked to show. It was a culture of high expectation in the class that moved such pupils on over a period of time. It is also vital to consider more able pupils when creating support resources. They too need to acquire the habit of stretching themselves as part of day-to-day norms.
