An example of a real case study was conducted with a Year 5/6/7 composite class at a local state school. The school had just been donated a puppet theatre and a box of assorted puppets by an expert in the field, with the added promise of tuition through workshops. The LM was keen to take up the opportunity and discussed the possibilities with the class. A brainstorming session was conducted, resulting in a mutually agreed end goal - being a class performance of a series of original puppet shows for the younger members of the school, with invited guests with a deadline of 3 weeks. With the end in sight, the concept of ‘backward design’(McDonald, 1992; Wiggins & McTighe,2005), had begun. Using the first stage of the backward design model, the LM and learners had together formed a clear end goal. From here, curriculum standards were applied to the vision. Using the Queensland Study Authority’s (QSA) Essential Learnings (ELs) for Years 5 and 7 as a standard, the Key Learning Areas (KLAs) of The Arts and English were addressed (see Appendix 1). The key component of ‘Drama’ in The Arts KLA was explored utilising each aspect under both the ‘ways of working’ and the ‘knowledge and understanding’ subheadings. As a bi-product, many of the aspects found within the ELs for English were also addressed, from the formulating and discussing of initial ideas, through to script writing and editing, speaking and listening in rehearsal as both players and audience members, to final presentation of the product (QSA website, 2010). Stage 2 of ‘backward design’ involves the consideration of gathering evidence of what the learners have learned. For this particular unit, evidence was planned and eventually gained through observation notes of group work in the unit’s initial stages, the drafts and final copies of scripts, the 3 stages of rehearsal and the videoed presentation of the final product. Stage 3 saw the design of the learning experiences. This was lead by the expert guest who planned a demonstration and explanation of the concepts, skills, requirements, tips and tricks necessary to create an original puppet show. Extra scaffolding was planned by the LM using the information made available through the student surveys. Learners were to be encouraged to build their scripts around their personal areas of interest, bearing in mind the limitations of the puppets, the theatre and the time factor and the needs of the intended audience, using the new knowledge and understanding gained from the expert guest. With each stage of the backward design process successfully addressed, the learning experiences could begin. Armed with a clear vision of their end goal and the steps needed to get there, the learners embarked on a course of ‘authentic assessment’ that encapsulated the decision making, problem solving and invention aspects of the DoL 4 Complex Reasoning Processes in a meaningful, real-world setting. A brainstorming session (see Appendix 2) with the expert guest produced 3 possible ways to write an original script: a totally original story, a story based on a Prep – Year 2 ‘reader book’ and a story based on a familiar nursery rhyme. From here the groups began to explore their own ideas, write their scripts, develop their puppet characters and investigate the role and concept of the ‘stooge’ (see Appendix 3). Using the ‘Invention’ graphic organiser (see Appendix 4) as suggested in the DoL teacher’s manual (Marzano, & Pickering, 1997, p.219), the learning journey from ‘perceived need’ through to ‘invention’ was also mapped.
Using the first stage of the backward design model, the LM and learners had together formed a clear end goal. From here, curriculum standards were applied to the vision. Using the Queensland Study Authority’s (QSA) Essential Learnings (ELs) for Years 5 and 7 as a standard, the Key Learning Areas (KLAs) of The Arts and English were addressed (see Appendix 1). The key component of ‘Drama’ in The Arts KLA was explored utilising each aspect under both the ‘ways of working’ and the ‘knowledge and understanding’ subheadings. As a bi-product, many of the aspects found within the ELs for English were also addressed, from the formulating and discussing of initial ideas, through to script writing and editing, speaking and listening in rehearsal as both players and audience members, to final presentation of the product (QSA website, 2010).
Stage 2 of ‘backward design’ involves the consideration of gathering evidence of what the learners have learned. For this particular unit, evidence was planned and eventually gained through observation notes of group work in the unit’s initial stages, the drafts and final copies of scripts, the 3 stages of rehearsal and the videoed presentation of the final product.
Stage 3 saw the design of the learning experiences. This was lead by the expert guest who planned a demonstration and explanation of the concepts, skills, requirements, tips and tricks necessary to create an original puppet show. Extra scaffolding was planned by the LM using the information made available through the student surveys. Learners were to be encouraged to build their scripts around their personal areas of interest, bearing in mind the limitations of the puppets, the theatre and the time factor and the needs of the intended audience, using the new knowledge and understanding gained from the expert guest.
With each stage of the backward design process successfully addressed, the learning experiences could begin. Armed with a clear vision of their end goal and the steps needed to get there, the learners embarked on a course of ‘authentic assessment’ that encapsulated the decision making, problem solving and invention aspects of the DoL 4 Complex Reasoning Processes in a meaningful, real-world setting.
A brainstorming session (see Appendix 2) with the expert guest produced 3 possible ways to write an original script: a totally original story, a story based on a Prep – Year 2 ‘reader book’ and a story based on a familiar nursery rhyme. From here the groups began to explore their own ideas, write their scripts, develop their puppet characters and investigate the role and concept of the ‘stooge’ (see Appendix 3).
Using the ‘Invention’ graphic organiser (see Appendix 4) as suggested in the DoL teacher’s manual (Marzano, & Pickering, 1997, p.219), the learning journey from ‘perceived need’ through to ‘invention’ was also mapped.
The 7 resultant puppet shows were videoed and are included, with permission, beneath.
‘The Great Race’ – an original script with a moral
http://www.youtube.com/watch?v=PkzeaJmYn5Y
‘The Little Red Hen’ – an original script based on a Year 2 ‘reader’
http://www.youtube.com/watch?v=eDo9uJ2yoWg
‘The Little Pig and the Wolf’ – an original script based on a classic children’s story
http://www.youtube.com/watch?v=ET1hJ3RsCrQ
‘Little Red Ridinghood’ – an original script based on a classic children’s story
http://www.youtube.com/watch?v=sNzx39D3B90
‘Mary Muffet’ – an original script based on a nursery rhyme
http://www.youtube.com/watch?v=DI6uP_PmUZ0
‘Stuck Monkey’ – an original script based on a Year 2 ‘reader’
http://www.youtube.com/watch?v=xdcBKXZVn3I
‘Jack and Jill’ – an original script based on a nursery rhyme
http://www.youtube.com/watch?v=7NMdjcqMCVA