Practice Makes Perfect.

At the centre of our school plan is Actively Involved Learners. 

In my teaching Inquiry, I have been looking at how critique and collaboration affects resilience and outcomes of student work and creating agentic learners in creating those scenes described by our Principal of the teacher skipping out the gate at the end of the day, with the students crawling, exhausted, as opposed to the other way around. I have touched on resilience a few times, as a key factor as it is one of our school vlaues and I keep wondering how we measure it; the timed drawings in year 11 and Manaakitanga in year 12 and 13 for instance have been active examples of me trying to figure this out. Achievement is going to come about as a result of commitment and resilience in my opinion. Respect is almost an aside, though necessary, obviously. In researching resilience as a topic to explicitly teach my students, in order to improve their outcomes, I go back to this each time; Carol Dweck wrote a theory about how your mindset affects your success. We have been looking at this as a larger part of our school professional learning:

Being able to pick yourself up and have another go is success not failure. Un-resilient students see falling in the first place as failing, so don’t even try and pick themselves back up. It’s too late. Picking yourself back up is resilient behaviour. The default setting as 'hard work and effort', make this real. People with a growth mindset are already doing this. People with a fixed mindset are hiding and avoiding having to, looking for the things that they are so ‘talented’ at, that they don’t have to work hard at, so that they don't have to risk failure.

How does it come about?

According to Dweck, it is totally able to be taught. Developmental stages do not seem to mean anything in teaching ourselves to become growth mindset kinds of people.

This slide is from Carol Dweck’s own youtube presentation in which she elaborates further, citing a Native American school on a reservation that was the bottom of the equivalent to league tables for their state. They were pulled back up to the top using her theories of how to praise, when to praise and how to speak about the power of “yet”.

This is slightly left-field but I was watching Sesame Street with my daughter last weekend and this was on; Sesame Street is one of those mainstays of Children's TV that is well researched and cleverly sequenced together, being the first childrens' programme to systematically use research and it's own 'curriculum ' in developing it's content (Gerald S. Lesser. Children and Television: Lessons from Sesame Street. New York: Vintage Books. p. xv. ISBN 0-394-71448-2.). And look at that, this is written with direct reference to Dweck's research on "YET". It is a fantastic example of explicitly capturing children's attention with a message that teaches a growth mindset. She was singing along after less than a minute. 

Carol Dweck's presentation on Youtube with VideoNot.es notes 

There are larger social factors that are positively affected by teaching this theory to communities; aggressive reactions are lowered, teaching a growth mindset about personal qualities lowers a person's chances of reacting violently. Bullying is lowered. Dweck calls it a basic human right for children to exist in communities that allow them to develop growth mindsets. 

It seems to me that teaching agency and resilience are interlinked concepts. One doesn't easily happen without the other. Teaching students to be their own leader of change is reliant on understanding resilience and having a growth mindset. 

My next focusing questions:

• How does this apply to Year 11 critiques and removing some, or in fact quite a lot of the scaffolding/whole-class teaching? The speed drawing methods we used earlier in the year?
• How does that apply to Manaakitanga? What data do I have?
• What are my next steps for Year 11? What data am I collecting?
• What do I do differently in Year 12 regarding the Manaakitanga?
• Is it worth making visual cues on the growth mindset for the classroom and explicitly referring to it in each class? How would I measure the impact of this?

Creating Agentic Learners

Agentic is a funny word that my husband tells me makes little sense. Agentic = agency = bad place to have to go to, someone there telling you off, making you beg, judging your values...a social welfare institution looking over your shoulder. It is generally a negative connotation.

I find this a funny word, but what it is meant to mean here is being the agents of your own destiny, being in control of your own learning. It is something that our school documents talk about a lot, in creating resilient learners. Resilience being one of our core values, CARR values.

It is really easy to fall into a trap of doing too much for you learners. When you see them struggling to even get some containers organised for taking paint home (one student so far out of 25 year 11's); my first thought is to go down to the warehouse and get some for them. It's only a few dollars, some students may not have a few dollars, I feel like I am letting them down not doing this. But then, is this a case of priorities and/or lack of lateral thought on how to solve the problem themselves. Do I set it up so that thought doesn't go into how to get around the problem, next time something is needed? Sometimes I think yes, sometimes no. I think it all depends on the context. But I am not buying those containers for my senior students! I do think it is not encouraging agency to just buy them.

This is my "hunch"; that I can increase the levels of agency in my senior students by expecting them to make some important decisions about their work and expecting them to find solutions that I do not provide for gear.

This is how I have been doing this so far: Year 11 - nothing about their folios is pre-formatted. While they have an overarching theme of Propaganda and world war two, they are expected to develop their own approach to it. Normally I would encourage this, but also have significant scaffolding to fall back on for students who were likely to struggle. The problem being, that capable students would also fall back on the scaffolding, as it was easier. So they are not extending themselves. Their work falls a little bit flat sometimes. So I have reversed that. Students are expected to develop their own way forward, and if I recognise the struggle, which I should with all the checks and balances in place, I work on scaffolding the work to the individual. This is not necessarily easy to do with a large class, and it more like the approach I take at Year 12, with smaller numbers.

Progress with this class so far is interesting. There are students who are doing really cool stuff; Liberty, Theresa, Madison, Shane, Taryn, Olivia, Tailah, Jahaana, Shaiana all showing a sense of control over their own ideas, telling me what they think their next step is, and why, with good back up. There are nine students also struggling. One is due to skills not being in balance with ideas. Four are because they speak little English, and struggle with following what is going on. The remaining four sit with lower literacy levels than you would want in Year 11.

A breakdown statistically:

• Students excelling - 9, 8 girls, 1 boy. 4 Maori students, 4 Pakeha
• Students struggling: 9, 4 girls, 4 boys, 2 Maori, 2 Asian, 1 Middle Eastern, 1 Pasifika, 1 Pakeha.
• In-between: 7, 6 girls, 1 boy, 1 Maori, 6 Pakeha.

What to do about ensuring full success: the next two weeks are about structuring and scaffolding work for those students who are in that bottom group. But, I feel like this has to be done in a way that allows for 'agency'. So that means framing up a direction that each student could take, but allowing for choice, and finality. e.g. 'Do two A3 paintings, that fit here, choose between these three themes, then design the top half of panel two based on what you think is the next step'. That, I have rattled off as an example of how I would potentially speak to one student in particular, who is in my head as a write.

Beyond that, I do not want to leave that top group alone, I want to push the extension required too. Critiques could be a way of doing this, which could encompass that in-between group, providing momentum and possible extension too.  Critiques in fact could be my inquiry focus for Year 11 in general. Critiques in groups, self-managed by the students, not me, as a means of extension and agency. My hunch again; that introducing critiques in small groups without teacher input, but with expert learners, could also encourage agency.

Assemblage - Manaakitanga; Collaborative Consideration, Collective Control.

These photos are the result of students working on the same drawing at different times and adding their own ideas to them. We had five proposals as a base. Each of the three classes worked on these equally. Time limits in class were set and students had to really think about how they perceived shelter from a spiritual, emotional, as well as physical sense.

 

Students voted for their favourite drawing and had to justify why they made that choice and consider how they would eventually make the structure. The first and largest image above is their choice - number 4. It wasn't mine and I struggled with not putting  a case forward for one I liked personally! That would have undermined the intention of it being their collaboration. It was their decision and they felt that 4 reflected their understanding and intention in discussing shelter. The difficult aspect of this is that this is not a three-dimensional drawing. It is a flat design, with texture, space and form that needs to be made three-dimensionally. In studying Anthony Caro, there is a realisation that he is not just a sculptor, but he is also a proficient abstract painter. And in fact, he is often really just painting with metal and space. Unlike Aycock, the student's other Artist model to consider in assemblage practice, he does not however, plan anything, or draw anything of his sculpted pieces. He only makes from the materials he has and the idea he has, often based on lengthy discussion and debate with his Artist wife. I have not got her name on hand. 

From there students have been working on creating it our assemblage. The first part of this, was how do we make a floor happen?  Anisha suggested her dad may be able to give us some old wooden palettes. Framing up a floor with 2 x 4, would have been a long, technical process and would have used a lot more material than we had budgeted for. So we asked Anisha if he would let us have some and the next day he delivered us 6 palettes, that our photography class nailed together as a floor. I was a little stunned when he drove up with these. Brilliant community here at Hornby. He also provided some nails from an old nail gun, but when you use those without a nail gun, someone has to sit there and break the wire that bonds them all together like machine-gun bullets... sore, sore fingers.

 

 

 
 

  Nikita and Bevan to the left, and additionally Shavaughnm Mich and Brianna below in the shortest video ever below (I  need a new phone...)

  The painters who werent too shy to be photographed; Niomi (Photographer), Estelle, Ana and    Quaid.

So who did what; The painting class took on the making of the uprights for the frame. The designers and then the painters took it on from there. Due to time constrictions across term one, we have struggled to finish what we have started, but the plans seem to be progressing as to how we manage the roof. Three v-shapes that likely have a proper building name, have been made by students with left over bits from a children's swing, one made solely by Danica, which was pretty impressive. There has not been one of our current students, who has not involved themselves in some way. We do not have real building knowledge here, we are in fact making what we have work, to be what we need visually. Mr Rees and Mr Rozka have been really helpful when we come over to them asking for all sorts of their gear and advice on how to do things that we had not even considered.

Our plan from here is to glue and drill screws in for the roof, as this seems sturdier and that is what we need as we go upwards. We have worked hard to make plaited flax ropes for bindings around corners and tying things on or down as we need to, but we need a lot more. Matua Mike Murray was brilliant in showing our design class how to carefully and respectfully cut the flax for this, with a Karakia and only the grandparent leaves. The cross feature and the wire features are still needed. Sheets for walls seems to be popular as we can use a staple gun to get them up and they will provide good imagery to draw, paint and photograph for folios, which is half the purpose of this structure; that it becomes their visual grounding, starting point and muse for the rest of the year. So, we have to re-set deadlines as we lost more class time than we initially anticipated and certain tasks too longer than we wanted as well.

 

  Miss Botherway, Mrs Cairns, Logan                                                               and Jacob

Additonally, Teresa, Shavaughn and Anisha pictured here with the boys (Design class).

There are numbers of incidents of working together and being collaborative, and it is often on the spur of the moment that it happens. That sense of helping each other out has been increasing and is happening in a natural way often. However, there are times when the teacher still has to get things started before it happens. I wonder if this is a confidence thing? But still not happening is the students owning it and working on it during their own time. There have been some small incidents of it happening with the small photography class, but it was short lived, with interruptions in learning slowing this down. So there is not really the sense of collective control that we wanted. Time and personalities across three classes have disrupted this. Students are working on how they make this structure meaningful in their folio work for the remainder of the year and already there are the calls to not start certain aspects of their personal practical work until 'we finish it'.

In starting this assemblage standard, to cover Manaakitanga as one of our cultural conventions, I find that other aspects of what has now been defined as our 6 successful teacher criteria (but for me was initially relative to how the Treaty of Waitangi is, or is not validated in teaching inquiry) are necessary in making this a success. Kotahitanga is most specifically what I am considering now. I have already begun using it as a learning outcome for term two of the year 10 programme, now I see that it is a natural progression for this programme also - creating unity, while celebrating individuality - this is my understanding of Kotahitanga based on discussions with our HOD Te Reo Māori, Matua Corey Kamariera. I need to think this out much further, as to how to apply it here meaningfully. I need to think about a lot of things further, as the two main concepts in studying Caro and Aycock need to be something students draw from during the course of their work this year too. I'm making a list.

In terms of completion of this assemblage, we have revised our expectations and are working towards completion, but with student collective control, not teacher-run timetabling and deadlining. Cindy and I are very proud of what our classes have achieved so far, but well aware of the work required still...

Same approach with white medium on black paper, a range of finishes and skill levels.

 

 

 

 

Developing Resilience continued...

Last year, I started thinking about how resilience could be addressed in a more explicit manner in my classes. As one of our school values, it is obviously something we as staff here feel is needed to be boosted. I heard something on the radio on the way to school the other morning about how 'Human Resources' teams in big companies assess potential employees' "RQ" or resilience quotient. I don't know if that is true! Half way through writing I just did an internet search and there is definitions and a website on which you can test your Resilience Quotient. There are PDF forms and online forms you can use to be tested.

I have become a little more sensitised to this, having an intern (student teacher) from NZGSE with me this term. She has noted, strikingly in her opinion, how quickly a high proportion of students give up, rate themselves as rubbish, and are not resilient. This is something that though I'm aware of, I think it has become something I take for granted - my awareness of it, that is. I know it, I don't fully accept and I do actively work on it, like it is just something to work on, as that is what it is for me. And it is for everyone who teaches here. It is why we have resilience as an explicit value. It worries me that I could become so used to it, that I don't take the time to care about raising it up in my classroom.

So last year, in SK we did the mono-prints, and I wouldn't let them throw them out, even if they hated them. For the last 3 years, my first project with year 10 students has been all about not hiding your mistakes, but making something more of them - "beauty in your mistakes" was one year, and this year it has been our learning outcome of  'making your mistakes your intentions'. Going with the flow, and adapting an attitude of  'oh dear, the ink went there, how do I make that work for me?'

1.2 - Level one: At Year 11 we have been making sure they don't have enough time to even acknowledge them in the learning process; Nicole (intern) and I were both first year fine arts doing similar programmes. Life drawing was a pretty normal part of this. You do 3 hours of drawing in one session, once a week. For me, it was a compulsory aspect that you had to pass to graduate onto level two. So, your first half hour is warm up drawings 30 second poses, followed by 2 minute poses, then something like 10 minutes, leading up to 30 mins or an hour or more, depending on how your teacher felt at the time. Always you would start with 30 seconds. So did we. We took the chairs away (locked them out the back), encouraged gestural drawing and set a timer:

 

These are a few of the more finished ones so far. We gave them more time on this, but at a certain level, they are losing some of the fluency they were achieving.

 

 

Students created a good 10 - 20 pages of drawing each, and because they were drawing so fast and changing papers without reflecting on them, looking for flaws, they had no choice but to develop a sense of fluency that they would have been too scared to do, if we had let them just meander their way through the three lessons that they did this for. It does mean a lot of unfinished drawings, but we are hoping that there is still enough honest evidence of fluency (excellence) or control (merit) in most, as there is definitely enough base recording information (achieved). I'm really proud of these drawings and of how seriously this lovely class have been taking themselves. We even had one of our students, who messed up with her  personal management (taking time off class, knowing she should not have) asking if she could work through the 30 second drawings by herself to catch up. While it's harder to be successful without the classroom momentum, it showed she was doing something resilient. Progress!