Illuminate - Edition 5

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

1

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

14

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.

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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).

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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.

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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?

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33

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.

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Rothwell, J. (2011). Bodies and language: Process drama and intercultural language learning in a beginner language classroom.

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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.

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“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.

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39

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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41

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.

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43

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

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45

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)

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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

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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.”

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51

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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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.

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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.

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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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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

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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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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!”

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- 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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63

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.

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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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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.

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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

75

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