2017  |  GTS  |  Jessica Bluck
Educating Aotearoa New Zealand

Professional Knowledge
Standard 1: Graduating Teachers know what to teach

A) have content knowledge appropriate to the learners and learning areas of their programme.

JUSTIFICATION:

I have content knowledge appropriate to learners Year 9 to Year 13 in the learning area of Visual Art. I have chosen these two particular artifacts to demonstrate my curriculum knowledge of both Photography and Visual Art. Both artifacts are units I taught in two different schools during my practicum.

The photography unit called Vanetas was created as a follow on from lessons on visual language in photography and an introductory course to digital photography that I also taught with this same class. The Vanetas unit was created as an offshoot to an already well-established unit called Domestic Still Life that ran at this school. It was an internal assessment with an internal achievement standard 2.3 AS91317(V3)

This unit implements my curriculum knowledge in Photography through a series of lessons aimed at incorporating the visual language and technical aspects of digital photography that students had previously been introduced to. Students will learn about the ideas surrounding the Vanetas, start using visual language terms, understand what settings to use on a digital SLR to photograph on a tripod in low light conditions, brainstorm what could objects could reflect their identity. Using the aesthetic of the Vanetas, students will create a photographic still life that represents and reflects who they are, using objects/images and symbols that they choose to communicate there identity.

The visual art unit I created is called Twig City.  The task was to build a city using the most basic materials and the simplest technology. Students reflected on the houses they live in now and what they dream of living in one day, asking what home means to them locally, culturally and personally, then comparing and contrasting that with what houses mean and how they are formed in different cultures, internationally and historically.

This unit is designed to draw on a range of methods: structured modeling, three-dimensional forms, learning to work with a restricted palette of colors, studio photographic techniques and stenciling. Armed with twigs and glue guns, students create a city of these houses. Working in small groups, they each have the freedom to structure their house in their own way, and then gather what they create into suburbs and wider communities.

Once communities have been defined and literally fixed into place, they will work together to critique and enhance what they have gathered as a built environment, focusing on how it relates to the natural world – the earth, sky and sea.

 Both these semester-long units draw on a rich knowledge base in both subject areas that I’ve gathered over many years of professional experience as photographer, artist and director. That prior knowledge gave me the confidence to design these units.

My content knowledge is further supported by comments made by mentors, visiting observers and lecturers, all of whom gave me very positive feedback.

‘Jessica’s extensive practice in photography overseas has contributed to knowledge and skills that are very valuable for teaching and learning in photography with secondary students’.

Jonathan Cameron mentor Epsom Girls High School

B) have pedagogical content knowledge appropriate to the learners and learning areas of their programme

JUSTIFICATION:

I have chosen a Visual Art unit I created for a year 9 class. This was an assignment for EDURSEC 700 where we had to create a culturally responsive unit. This unit demonstrates my pedagogical content knowledge because it directly relates to preparing students well in assessment and understanding of key competencies as outlined in the New Zealand Curriculum for Visual Arts.

This Unit called Twig City is designed to develop the following competencies:  the skills of  relating to others in small groups, employing different cultural understandings of the topic ie housing, exploring materials and techniques from traditional sources. I have incorporated theories of pedagogy and pedagogical content knowledge specific to Visual Art in my unit design.  The implementation of this unit depended heavily on developing effective relationships with students one by one and in small group settings. The pedagogy I employed was highly interactive, drawing on the very lively class dynamic and high energy level generated by the project to engage students ever more deeply.  To keep the focus of this unit clear, I had to keep refreshing and adapting the tasks to keep student engagement and motivation levels high. Working constantly as small groups and keeping whole class plenaries to an absolute minimum made this flexibility much easier. Not every group had to follow the same pattern.

C) have knowledge of the relevant curriculum documents of Aotearoa New Zealand

JUSTIFICATION: 

This artefact demonstrates knowledge relevant to NZ curriculum documents for Year 9 , levels 4,5,6 and Taiako – cultural competencies for teachers of Maori learners. I focused on the competencies ofAko and Tangata Whenuatanga

This unit was written as an assignment for EDPROF738. I named this unit Turangawaewae – A Place to Stand. The final outcome of the unit was a mixed media piece combining photography and painting, with the use of stencilling and acetone printing to create a kind of visual pepeha of each student.

In order to achieve this outcome, students had explore different art making conventions, investigate found or drawn imagery that students felt represented visually the place they are from, study how contemporary Maori artistsuse several different mediums to explore their world and identity, and develop skills in the  use of paint, found imagery, stenciling and acetone transfers. By working through these tasks I believe the students developed their competency as visual artists in the culturally appropriate and responsive ways asked for by the curriculum.

D) have content and pedagogical content knowledge for supporting English as an Additional Language ( EAL ) learners to succeed in the curriculum

JUSTIFICATION:

 I have excellent content and pedagogical content knowledge for supporting English as Additional Language (EAL) learners to succeed in the curriculum. During my placements as a pre-service teacher, there were several students across my classes in subjects Graphic Design, Photography and Art who were EAL learners. As such, I ensured that I identified and applied principles outlined on ESOL Online, namely:

I made sure I maintained and made explicit the same learning outcomes for all the learners, by making sure the lesson was comprehensible to them, that they could be actively involved in the task and understand the learning outcomes. I also made sure I understood my learners and their language and experiential background. I encouraged same language group work to allow students to discuss ideas fluently in their first language.

Standard 2: Graduating Teachers know about learners and how they learn

A) have knowledge of a range of relevant theories and research about pedagogy, human development and learning

JUSTIFICATION:

I have chosen this particular artifact from an assignment for EDPROF 737, where the task was to construct a resource to help adolescents engage in to shifting their learning from surface to deep levels. It required me to synthesize information from the Ako course, relevant literature and research, and, apply the principles of promoting effective learning when designing your game. 

I did this by developing a game I called The Great New Zealand Art Chop that students with very diverse needs could take part in and move from surface to deep levels of learning, using the cognitive process based from SOLO taxonomy-Structure of Observed Learning Outcomes ( Biggs &Collis;Collis & Biggs 1986 )The basis of the game is to use New Zealand Art in this case paintings to familiarise students with technical terms used in painting, so they can begin to describe their work as well as other artist work with more confidence, start questioning their emotive responses to work and begin to investigate the reason behind there responses. The resource is broken into two sections beginning with a unistructural task where students connect written descriptions to the appropriate paintings. The second task is to use the cut up elements from the same paintings but students restructure these elements themselves under a new set of title cards now on a more relational level. The final task in the extended abstract engages students further with a new set title cards. It proved to be engaging and highly relevant to this age group. I was very conscious in designing this unit of the need to make it highly engaging for adolescents.

*B) have knowledge of a range of relevant theories, principles and purposes of assessment and evaluation

JUSTIFICATION: 

I chose this artefact from EDPROF 701 Assignment 1: Annotated bibliography of four texts related to standards based and norm referenced assessment practices within senior secondary schools in Aotearoa/NZ.  

I had to critique dominant discourses, knowledge and understandings of assessment practices in the secondary school, to critically analyze the texts selected and to reflect on their implications for my own practice.

This material served to show me how crucial and culturally weighted the choice of assessment and evaluation methods are to low decile schools and Maori and Pasifika students.****contextualize the artifact eg direct instruction…..polarizing results…looka t whatthe text offered up and describe….carol gave the example of the cost of doing a photography art class.

C) know how to develop metacognitive strategies of diverse learners

JUSTIFICATION:

This artefact focuses on students as a means of finding just what level of learning was actually taking place in the classroom. As a method it proved to be more direct and honest than other more formal ways of assessment, like written tests. Student feedback gave me some surprises about what really engaged them and also how disconnecting the wrong strategy could be.

Student feedback- teaching a class of diverse learners and student feedback

D ) know how to select curriculum content appropriate to the leaners and the learning context

JUSTIFICATION:

Twig city

Tailoring the task to fit the cultural context.

 These 28-year nine students had a track record of very low engagement with prescribed tasks of any sort.  I was searching for a task what would meet them where they were at and let them enjoy getting on board, however limited their artistic experience and range of skills might be. The feedback I received from mentors was that I had chosen something that was too conceptual and in actual practice, too basic, even juvenile for some students.

So I looked for a topic that was open with lots of room to create freely, wasn’t constrained by skill sets and was anchored in our shared humanity rather than any specific culture. A house has this universality, as does a collection of houses. I gathered an extensive library of images from many different cultures and historical periods to illustrate how we all need structures to shelter in and come home to. In my unit I tried to match the task and techniques required with what I knew about the student group. I decided on a form building, with sculptural elements, hands on project rather than a more traditional drawing exercise. I wanted to use techniques used by contemporary Maori and Pasifika artists, which they had themselves borrowed from their own traditions. Mallon and Pereira call this ‘a blending of transcultural experience’.

Standard 3: Graduating Teachers understand how contextual factors influence teaching and learning

 *A) have an understanding of the complex influences that personal, social, and cultural factors may have on teachers and learners.

JUSTIFICATION: 

This artifact is an assignment from EDPROF 741- Exploring Diversity in School Communities in which I explored the implicit values expressed in the entrances to two vary different schools that I taught and observed in and how these values impacted on teachers and learners. This exploration was very difficult territory because it led to some strongly critical conclusions. But the commentary was easier to offer because it was based not on my personal opinion but on values built into the physical environment.***** name some of them like results driven

B) have knowledge of Tikanga and Te Reo Maori to work effectively within the bicultural context of Aotearoa New Zealand

JUSTIFICATION:

This artefact is an assignment from EDCURSEC 700 where we had to build a culturally responsive unit. I’ve chosen it because it incorporates contextual factors to enhance learning and it taught me a lot about the complexity of these and how hard it is for a Pakeha teacher raised in a monocultural world to work effectively in a bicultural and multicultural context.

Twig City respected tikanga and Te Reo elements in its choice of vocabulary and terminology. The task itself of building a city had no cultural prescription around it and the diverse cultures that made up the classroom were all able to find their place, both separate and connected. From the different styles of the houses through to the different languages of the signposts and the flags, this was a city that respected diversity and belonged in the bicultural context of Aotearoa.

C) Having an understanding of education within the bicultural ,multicultural, social , political and economic context of Aotearoa New Zealand.

JUSTIFICATION:

This artefact is an assignment from EDPROF 738 –Taumahi 2.  It offers a critical discussion of my own social and cultural location, and explores the cultural competencies of Ako – learning from each other, and identity, which involves being in charge of your own life – Rangatiratanga.

More than any other assignment in the course, this one put me, and my own cultural journey, in the middle of the frame.  I realised that my effectiveness as a teacher depended on my awareness of the baggage that I bring, the stereotypes that I carry with me, and my willingness to be constantly questioning and checking the perspective I bring to the classroom.

Professional Practice

Standard 4: Graduating Teachers use professional knowledge to plan for a safe, high quality teaching and learning environment

A) draw upon content knowledge and pedagogical content knowledge when planning, teaching and evaluating

JUSTIFICATION:

The first artefact is an assignment from EDPROF 701 where the task was to work asttle reading data given for a year 10 class, and within our own learning area implement an inquiry cycle. I gained considerable pedagogical content knowledge from this material.

The data helped me understand the different levels of reading and verbal literacy in my class and enabled me to break down the class into several distinct learning bands. That allowed me to set appropriate goals across the range of students, work out achievable learning outcomes, success criteria and ways of assessing progress. With the help of this data I progressed much more confidently with the class, knowing I was able to respect, understand and respond to the mix of abilities they presented.

The second artefact is a unit I created for a Year 11 photography class. This assignment drew heavily on content knowledge that I brought to the class from my previous professional background. The exercise enabled me to shift and reprocess complex and extensive content that I had gathered over a decade and reframe it for these teenagers.

B) use and sequence a range of learning experiences to influence and promote learner achievement

JUSTIFICATION:

The first artefact is from a Unit called Vanetas that I created for a year 11 photography class. To help students engage effectively with the unit I led them through two preliminary sessions along with worksheets: artefact 2 introduction to visual photography and artefact 3 introduction to visual language. This sequence was fundamental to engaging with the Vanetas unit and it promoted a higher level of achievement with the artwork that eventuated. I did this by carefully scaffolding student’s introduction to digital photography, teacher and artist technical demonstration, exemplars and worksheets to track student progress.

such as class discussions, brainstorms, Socratic seminars and worksheets I was able to create new learning experiences for my students, leading to higher student engagement and participation and in turn influenced learner achievement. 

 C) demonstrate high expectations of all learners, focus on learning and recognize and value diversity 

JUSTIFICATION:

The first artefact is an assignment from EDPROF 701 where the task was to work asttle reading data given for a year 10 class, and to implement an inquiry cycle. This assignment In the context of this question under c) the data helped meset goals appropriate and achievable for very different ability levels, and then go on to set high expectations of all the students, whatever their level. 

 The second artifact is an assignment from EDPROF 701 where I obtained the external results by students in my curriculum area in a class at my practicum school. The purpose was to investigate markers of achievement within my learning area.This investigation helped me appreciate and understand who was and wasn’t achieving. OnceI was able to recognize the diversityof ways that differentgender andethnicities approached my subject area, I could proceed to work out strategies for achieving engagement and success.

***how this data was a lens to see behavior and ask questions

D) demonstrate proficiency in oral and written language ( Maori /English ) , in numeracy and in ICT relevant to their professional role

JUSTIFICATION:

??   CONNECTION TO VISUAL ARTS AND VISUAL LANGUAGEWHATS ICT/

** ICT means IT …talk about photoshop etc….

E) use te reo Maori ne nga tikanga-a-iwi appropriately in their practice

JUSTIFICATION:

This artifact is an assignment from EDPROF 738 where we created a topic and lesson plan. Minefocused on the search for our own turangawaewae, expressed through a mixed media work that would become a visual pepeha for each student. We explored at some length the cultural genesis of thie notion of a place to stand and its dependence on language and tikanga. Having acknowledged that origin, we moved to make the notion accessible to student’s from other cultures. In this way the Maori element was both respected and shared.

F) demonstrate commitment to and strategies for promoting and nurturing the physical and emotional safety of learners

JUSTIFICATION: 

My two artefacts are written responses from mentors and observing curriculum specialists and an assignment for EDCURSEC 700 – re-examining schooling experiences. In this paper I reflect on teacher student relationships and classroom observation. The feedback I’ve received identifies relationship building with students as my core strength. Trusting in that is the best way I know of keeping students safe. So much of what causes risk and distress for students draws no response until its manifested in challenging behaviour. My strategy is to get in early before problems develop.

Quotes from mentors

B ) gather, analyse and use assessment information to improve learning and inform planning

JUSTIFICATION:

The artifact is an assignment from EDPROF 701 where I used the external results by students in my curriculum area in a class to investigate markers of achievement.

Armed with data with patterns of achievement and barriers to success in this subject I would beable to plan a well informed and appropriately pitched unit that addressed the issues peculiar this class and this subject. This performance analysis, though expressed in impersonal graphs and pie charts, was crucial in reframing the content and strategies necessary to engage these otherwise disconnected students.

*** how content and strategies promote learning

C) know how to communicate assessment information appropriately to learners, their parents/caregivers and staff

JUSTIFICATION:

My artefact is a range of conversations with mentors about the range of systems that are used to communicate assessment information.  The list includes three way mentoring, tutor time, starpath, documentary analysis? While not having permission tojoin in dialogues with parents and students,  I had much discussion with my mentors that made me aware of how complex and important it is to find culturally appropriate ways of communicating student assessment, to ensure student learning can continue. It seems that a key factor is how effectively the whanau and community around the student are engaged in the process.

***sum up what you have deduced

like how important oral is

how the language needs to student friendly

Look up Jill Smith around assessment/ chaper 8 NZ practice pro