tag:blogger.com,1999:blog-67182465501305410872024-02-07T05:05:27.648+00:00Articulate Education UKRethinking primary creative writing - inspiring young authors - supporting teachers.Stefan Kucharczykhttp://www.blogger.com/profile/00010118048730771584noreply@blogger.comBlogger107125tag:blogger.com,1999:blog-6718246550130541087.post-62406774049099488892022-01-05T16:26:00.001+00:002022-01-05T16:26:15.141+00:00PhD reading: popular-culture in children's writing, agentive learning and going bonkers to Pee-wee Herman <p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhTpw3cBH5gn1yDmfJ7nRn7JzKrsOoXCDc5s1fuVpXQIs7GAdUlq8oFUx1Y21rTC88nqoBKUFCTtvfbDV0vgeWG9KiJ9MDW111_9M5-EUOa35wP7C1ZDyruTrbG2Okwxrx-AkkNIO78e8ppwG8514FIy477NDcEoz7KNynH_u1O66D5pfGqgE3vyjw2Rg=s500" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="386" data-original-width="500" height="247" src="https://blogger.googleusercontent.com/img/a/AVvXsEhTpw3cBH5gn1yDmfJ7nRn7JzKrsOoXCDc5s1fuVpXQIs7GAdUlq8oFUx1Y21rTC88nqoBKUFCTtvfbDV0vgeWG9KiJ9MDW111_9M5-EUOa35wP7C1ZDyruTrbG2Okwxrx-AkkNIO78e8ppwG8514FIy477NDcEoz7KNynH_u1O66D5pfGqgE3vyjw2Rg=s320" width="320" /></a></div><p></p><p>A bit of a backlog of reading to summarise, but here I will
look at the following.....
</p><p class="MsoNormal"><i>From Superman to singing the blues: on the trail of child
writing and popular culture </i>by Anne Haas Dyson (2018)</p>
<p class="MsoNormal"><i>This isn’t my real writing: the fate of children’s agency
in a too-tight curriculum </i>by Anne Haas Dyson (2020)</p>
<p class="MsoNormal"><i>Going bonkers!</i> by Henry Jenkins (1988) </p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><b><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">A summary
in ten words: </span></b><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">The
agency of children determines the agency of children.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><b><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Word of
the week:</span></b><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"> agentive</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><b><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Fretting
hours to working hours ratio: </span></b><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">2:1 </span></p>
<p class="MsoNormal">One of the aspects of writing I am most interested in is
composition. When I was a primary school teacher, I didn’t fully appreciate the
difference between writing a story, say, and <i>composing</i> a text.<span style="mso-spacerun: yes;"> </span>The latter being much more closely aligned
with children’s identities than acquiring the technical skills of writing. Part
of my thinking work on my PhD is about unpicking this concept in both digital
and material contexts and, in doing so, considering the relationship between composing
and children’s creative identities. The theme in these readings, especially those
by Anne Haas Dyson, relate to popular culture and how children’s agentive
composition (e.g., writing, talk, play) can be an opportunity to foreground
their interests, talents and private thoughts. Also considered is the
relationship between agentive composition and the expectations and demands of
formal education.</p>
<p class="MsoNormal">What was most interesting about <i>From Superman to singing
the blues </i>is how Anne Haas Dyson (hereafter, AHD) revisits her doctoral
research conducted forty years ago about literacy in American schools. As well
as her insightful discussion about identity and agency, AHD reflects honestly
on her approach to field research marking a great shift in socio-cultural
research since the 1980s. As she says, <i>who the children are</i> was a fundamental
aspect of her research even if she didn’t fully appreciate it at the time. Four
decades ago, it was not common for children’s personal interests and characteristics
were not seen as being as particularly important. It was refreshing to read
such honesty in an academic paper and something I can certainly aspire to
follow. </p>
<p class="MsoNormal">In the article, AHD suggests that popular culture is a ‘toy
box’ of ideas for children’s writing. Dyson considers the interconnectedness
between the themes, plots, characters and settings gleaned from television,
toys, pop music and film and children’s compositional practices (2018, p44). As
they play and write, she observes children rewriting pop-culture to their own
liking. <span style="mso-spacerun: yes;"> </span>For example, Tina reimagines superhero
adventures as a space from non-white, female characters – something that drew
considerable ire from the boys in her class who felt that this was too far
removed from the stories they knew to be comfortable (p40-41). By
recontextualising stories – e.g., changing the racial features of the superhero
to make them more recognisable - AHD suggests the children are trying to make
sense of their place in the world and exert control over it. In doing so, they
borrow a Frierean theme: rewriting the word to rewrite the world.</p>
<p class="MsoNormal">Dyson argues convincingly that while children are comfortable
recontextualising and reshaping norms of storytelling, the challenge lies in finding
a space in school-based learning for children to do so. In such a highly
structured system, how can teachers take on board children’s interests without ignoring
or diminishing them as less serious endeavours? I recognise this challenge from
my experience as a primary school teacher. It is hard not to feel that this is
as true now as it was then and perhaps more so. </p>
<p class="MsoNormal">In <i>This isn’t my real writing</i> (2020), AHD digs deeper
into this idea. She draws on practice theory (and the work of Sherry Ortner)
which considers the relationship between an individual and the institutions
they work in and are constrained by; what Ortner calls ‘embedded agency’.</p>
<p class="MsoNormal">The agency of children, AHD argues, is tied to the agency of
teachers: children can only take advantage of freedom if the teacher is permitted
(or is trained to know how) to offer it. Yet, this has significant
implications, AHD suggests, for how children develop and learn to see
themselves as creative agents. If by agency in writing, we mean the freedom to
act out intentions on the world (as children would do through play) then children
need to have more say in how, what and who they write for: this is what AHD
refers to as ‘real writing’. Not doing so, AHD argues, means that agentive work
where children recontextualise pop-culture influences is seen as something only
appropriate for outside of the classroom, for example, playing at home. Pushing
this aside, or squeezing this out of the curriculum may, as AHD argues, be
damaging for how children interact with school learning.</p>
<p class="MsoNormal">While AHD’s work draws on fairly conventional elements of children’s
play and culture, there is certainly less said about digital play which now
forms such a large aspect of children’s participation in cultural life. This is
something my PhD research aims to explore.</p>
<p class="MsoNormal">Drawing on anecdotal evidence only, it seems that in some
cases, the events of 2020-21 have seen a flourishing of children’s online play,
perhaps as a substitute for physical social interactions. While children have
certainly had less contact with formal learning, many may have found more
freedom to ‘play’ with texts and storytelling, relatively free from the
influence of their teachers. This in itself is highly interesting – I can only wonder
what my ten year old self would have done during the pandemic.</p>
<p class="MsoNormal">AHD’s work led me to discover Henry Jenkin’s highly
entertaining chapter <i>Going Bonkers!</i> (1988) which looks at children’s
play in relation to TV programmes. In this case, he observes a small group of children’s
play while ‘watching’ <i>Pee-wee’s Playhouse </i>at a party in their New York
apartment. Jenkins notes that while the programme was disregarded by many at
the time for its perceived lack of “nutritional value”, he argues that its chaotic
nature presented child viewers with a direct challenge to culture that their
parents would approve of. One only has to think of adult attitudes to some videogames
or platforms (e.g., Tick Tock) for a contemporary equivalent. While the
children’s play was not obviously productive – the children Jenkins observes barely
watch the show while it’s on at the party – this case study does provide
evidence of the ease with which children adapt and synthesise cultural
influences into their creative work. An opportunity to resist socially
sanctioned culture is perhaps an added bonus and something I would like to
consider in my research with learners. My position as an adult authority figure
(aka a spoilsport) might be an impediment. </p>
<p class="MsoNormal">Jenkins’ chapter is food for thought and a good excuse to
watch Peewee Herman in action if it’s new to you. Take two paracetamol and
strap in.</p><p class="MsoNormal"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></p>
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/bZzdr2491xs" width="320" youtube-src-id="bZzdr2491xs"></iframe></div><br />Stefan Kucharczykhttp://www.blogger.com/profile/00010118048730771584noreply@blogger.comtag:blogger.com,1999:blog-6718246550130541087.post-4065087082665473172021-10-12T11:47:00.000+01:002021-10-12T11:47:01.792+01:00PhD reading: disruption, interactive design and toddlers watching movies <p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjviFofEBPPzrujaw3oKUv3YxR3VJaSo90qh3hjHEq3HB3uWopDSTEGjKTxldlvmQhsdaFSCp7EsVMtWmWC1rHoZ01rj_MRXp54WgEwnm4ylDDRa3h21ZM_AU9ewx7cmYwWimzu4eLT2f3/s231/index.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="218" data-original-width="231" height="218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjviFofEBPPzrujaw3oKUv3YxR3VJaSo90qh3hjHEq3HB3uWopDSTEGjKTxldlvmQhsdaFSCp7EsVMtWmWC1rHoZ01rj_MRXp54WgEwnm4ylDDRa3h21ZM_AU9ewx7cmYwWimzu4eLT2f3/s0/index.jpg" width="231" /></a></div> This week, I have been reading...<br /> <p></p><p><i>Researching prior learning: How toddlers study movies</i> by Carey Bazalgette (2018)<br /><i>Negotiated, contested and political: the disruptive third spaces of youth media production</i> by Parry, Howard and Penfold (2020)<br /><i>Video games design and aesthetic</i> by James Gee (2016) <br /><br /><b>A summary in ten words:</b> Disrupting the traditional teacher-learner power balance makes for interesting results.<br /></p><b></b><p><b>Word of the week:</b> Bazalgette (now I realise how you pronounce it).<br /></p><p><b>Caffeinated sips to words-read ratio:</b> 3:1 <br /> </p><p>The theme of this set of reading is children’s engagement with digital media outside of the classroom. Bazalgette challenges the assumptions about how toddlers watch and understand films through informal viewing; Parry and others consider the creation of text-based video games by young people outside of a formal educational setting.</p><p><br />One key idea that links these articles relates to the positionality of the learner in relation to traditional ‘authority’ in education. Bazalgette challenges the argument put forward by Alain Bergala that a meaningful connection between viewer and film can only be achieved in a classroom under the guidance of an expert. Not so, argues Bazalgette. Even the youngest viewers (e.g., two year olds) can make meaning from the experience of watching a film by drawing on their prior understandings of the world, their prior ‘textual experience’ (e.g., stories they have told or heard using different media) and knowledge of stories and, importantly, the social experience of viewing a film with others. Watching together and informally with family gives children cues for how they might respond to certain events (such as laughter, surprise etc) as well as what you might call ‘film talk’ – expressing preferences, what they predict might happen next, connections with other films. This is quite different to Bergala’s more elitist interpretation of understanding film. Bazalgette also points to psychological interpretations of learning to suggest that some of children’s responses to events in films might be triggered by embodied cognition – evolved perceptive responses that help make causal connections and help interpret emotions.<br /> </p><p>Parry and others also pick up on the idea that learning is effective when it disrupts traditional pedagogies and the related power imbalance between teacher and learner. This paper reflects on a project where teenage and adult participants created text-based stories using Twine. This platform is quite easy to use meaning that it requires little instruction. Importantly, creating many pathways through a story requires, like Bazalgette’s toddlers, for authors to draw on their pre-existing knowledge of stories to create interesting and surprising plots. This way of working is likely very different from the way participants might have experienced this in school. In addition to the role of ‘writer’, it also invites users to adopt the role of reader predicting and subverting the imagined responses a reader might have. This digital tool, Parry argues, offers a disruptive approach to text creation placing power in the hands of the authors, inviting collaboration and using a platform that rewards experimentation and risk. The sense of space is also significant to this article. The use (and repurposing) of a library rather than a classroom is presented as further evidence of disruptive pedagogy. The conceptual idea of a third space encourages participants to step outside of traditional places of learning and bridge experiences from home and educational settings. <br /> </p><p>Both of these articles are giving me better sense of the importance of learning other contexts other than school. As a former teacher, it gives me pause for thought on how I valued home/alternative learning experiences and how much space I made for them in my classroom. Not enough if I am honest.<br />James Gee also presents video games as a disruptive approach to traditional ideas about learning. In particular, Gee suggests the best games offer ‘constrained problem solving’: low-stakes, high-interest learning experiences that encourage collaboration, autonomy and persistence (e.g., <i>Twine</i> as discussed by Parry et al). In this article he considers how the interactive design of video games develop a user’s ‘appreciation system’ – our judgement on whether events in the games (or life) are good/bad/neutral for our intended goals. Although I don’t feel he makes a strong case for how this relates to a sense of artistic or aesthetic appreciation, his suggestion that games develop a conversation between player and designer (even when the game has no narrative) is an interesting one. This idea of a writer-reader-player-designer identity is a fascinating one and something that I think is highly relevant to my plans for the PhD. <br /></p><p>Also, I need to spend more time playing with <i>Twine</i>.<br /></p>Stefan Kucharczykhttp://www.blogger.com/profile/00010118048730771584noreply@blogger.comtag:blogger.com,1999:blog-6718246550130541087.post-31430305302554615682021-09-30T11:54:00.001+01:002021-09-30T11:54:03.705+01:00PhD reading: videogames, digital play, makerspaces<p><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 6"/>
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</p><p class="MsoNormal"></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTl5Q0nhg5GkO3gK9cDmKoPd1AzqkpOcAcV6cp6iue6y1A7HIf_tAFG_tF1WH4JIgpBe8-x5C8M5d3wKZx18uXLDuvKSGA7CX-10ETpUZ_Htd1fjDJVBeEc1-5YPJWudd4VT-M5T-vIIWU/s750/book-piles.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="750" height="193" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTl5Q0nhg5GkO3gK9cDmKoPd1AzqkpOcAcV6cp6iue6y1A7HIf_tAFG_tF1WH4JIgpBe8-x5C8M5d3wKZx18uXLDuvKSGA7CX-10ETpUZ_Htd1fjDJVBeEc1-5YPJWudd4VT-M5T-vIIWU/w400-h193/book-piles.jpg" width="400" /></a></div> This week, I have been reading...<p></p>
<ul style="text-align: left;"><li><i>Digital games and libraries</i>, James Gee (2012)</li><li><i>Emergent digital authoring: playful tinkering with mode, media
and technology</i>, Becky Parry and Lucy Taylor (2021)</li><li><i>An interview with Gunther Kress</i>, Eve Bearne (2005)</li><li><i>Makerspaces in early childhood education: principles of
pedagogy and practice</i>, Jackie Marsh at al (2019)</li></ul>Quite an eclectic list of reading for this week. I intend to
adopt a more systematic approach to reading but, for now, I am happy to keep an
open mind and read through things that have been in my #toread folder for a
while.
<p class="MsoNormal"><b>A summary in ten words: </b>Playing with digital technology invites rich social interaction
and learning.</p><p class="MsoNormal"><b>Word of the week:</b> tinkering </p><p class="MsoNormal"><b>How much I understood:</b> 65% (Gunther Kress dragged down my average) <br /></p><!--[if gte mso 9]><xml>
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<p class="MsoNormal" style="text-align: center;">*** <br /></p><p class="MsoNormal">Quite an eclectic list of reading for this week. I intend to
adopt a more systematic approach to reading but, for now, I am happy to keep an
open mind and read through things that have been in my #toread folder for a
while.</p>
<p class="MsoNormal">It is James Gee season here in Meanwood. I have just finished
reading his influential book <i>What Video Games have to Teach us about Literacy
and Learning</i> (Gee, 2003). Aside from the strong case he argues in favour of
video games as a powerful medium for learning, it was a witty and insightful
journey through the video games of the early 2000s. It deserves its own blog
post but I’ll wait until I have digested it fully first.</p>
<p class="MsoNormal">His article <b><i>Digital Games and Libraries</i></b> (Gee,
2012) builds on the ideas from his book: that video games encourage active,
critical and collaborative learning in a way that many schools (in America, twenty
years ago – although still relevant to my mind) do not. He argues convincingly
that far from a “waste of time”, gaming finds the balance between teaching
content relevant to a wide range of semiotic domains - areas of learning e.g.,
geology, narrative, the game genre itself – while building in a learning
experience that rewards risk and persistence. Indeed, in <i>Digital Games and
Libraries, </i>Gee argues that video games have developed a ‘new school system’
alongside that of the classroom. They provide a digital space where children
can learn, often, in his view, more effectively.</p>
<p class="MsoNormal">He proposes the software itself (the ‘little g’ game) must
be seen alongside the wider collaborative community (the meta-game) where
players discuss, mentor each other and share ideas about games online. The communities
he describes as ‘affinity spaces’ are where the collaborative and social
aspects of learning, absent from many experiences of schooling, blossom. </p>
<p class="MsoNormal">This is why I am so interested in video games. I see them as
a medium that promotes agency and authorship: children telling stories, imagining
and finding a space to share things that matter to them and learning something
valuable in the process. </p>
<p class="MsoNormal">Playfulness and collaboration are (unintentional) themes of
the other readings this week. <b><i>Emergent digital authoring: playful
tinkering with mode, media and technology</i></b> (Parry and Taylor, 2021) again
explores the social aspect of effective learning through digital technology.
The authors build the case for greater recognition of the importance of digital
play or ‘tinkering’ in children’s emergent literacy. Often this play happens informally
in the home and validating and foregrounding these experiences in formal
education settings remains a challenge. </p>
<p class="MsoNormal">Parry and Taylor’s article plays on themes explored in <b><i>Makerspaces
in early childhood education</i></b> (Marsh and a long list of others, 2019)
which looks at the potential of makerspaces – collaborative, interest-driven making
and design – in young children’s development. This is something I heard a lot
about – especially in relation to ‘hack spaces’ - but had not considered the
role of digital technology as a central part of the experience. <span style="mso-spacerun: yes;"> </span>As a teacher, I had run them in school but with
non-digital materials as part of DT lessons. </p>
<p class="MsoNormal">The researchers here consider the potential of makerspace workshops
to foreground children’s agency as makers (independence and ownership), and
consider the personal, social and institutional impacts of these experiences
(drawing on the work of Rogoff, 2003). This has potential for my research. Linking
Gee’s affinity spaces with the playfulness and purposefulness of the makerspaces
feels like the right environment to think about authoring. </p>
<p class="MsoNormal">Through the tinkering and playful engagement with the tasks (such
as VR, green screening, circuit building, and light play) children’s
collaborations help develop their knowledge funds, their ideas of how materials
work. Equally important for the learners is how they are able to draw upon home
learning experiences and bring them into this space – again, something
practitioners find challenging. While I know much pearl-clutching occurs when
imagining that digital play is somehow eclipsing the non-digital, the authors
here make the case for post-digital play: that the two coexist in children’s
experiences. There was much, much more in these two articles which I will
certainly revisit once the focus of my PhD becomes clearer.</p>
<p class="MsoNormal">A brief word on the <b><i>Interview with Gunther Kress</i></b>
(Bearne, 2005). He discusses the concept of ‘literacy’ and how, in recent
times, this understanding has become more blurred. He discusses the role of
digital texts in literacy and language is understood, especially how technology
has reshaped the representation, production and dissemination of texts. There
was a lot in here about mode and linguistics that I didn’t understand fully so
my next stop will be Kress and Van Leuven’s <i>Reading Images: The Grammar of
Visual Design. </i>I am hoping that will help! </p>
<p class="MsoNormal">One prescient point, however, was the place of knowledge in
learning. He argues that the digital age has given rise to a knowledge economy which
is reflected on the obsession with school curricula to deliver ‘content’. Kress
argues that, far from being the end in itself, a knowledge economy is underpinned
by innovation. This is something that doesn’t fit with the culture in education
to train students training to conform. Such a powerful point that captures my
entire motivation to take on a PhD.</p>Stefan Kucharczykhttp://www.blogger.com/profile/00010118048730771584noreply@blogger.comtag:blogger.com,1999:blog-6718246550130541087.post-30732990367605642482021-09-24T10:48:00.009+01:002021-09-24T10:52:31.391+01:00Starting a PhD <p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuo3t-WzIB2FoNSmNjxy7E3w2U2LSLb002wzC1-lyZRh-EC_skln-7RiehH8zt9AmaFUDkCJy_5IYNsfRQgrw-Qr4AmL_y64vA3gqcy2rrXFnGgtaOLKmqyyp1NPrrtLOPa-3ZRxwDjtPa/s650/bjoyslzjb3uxqyg82uz2.webp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="650" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuo3t-WzIB2FoNSmNjxy7E3w2U2LSLb002wzC1-lyZRh-EC_skln-7RiehH8zt9AmaFUDkCJy_5IYNsfRQgrw-Qr4AmL_y64vA3gqcy2rrXFnGgtaOLKmqyyp1NPrrtLOPa-3ZRxwDjtPa/s320/bjoyslzjb3uxqyg82uz2.webp" width="320" /></a></div> <p></p><p>This month I began a PhD at the University of Sheffield. At last! I have wanted to start a PhD for a long time and have waited for the right opportunity to arrive. Working alongside the exciting team at the School of Education in the area of digital literacy was too good an opportunity to miss. </p><p>The focus is children’s identities as authors through digital technology. In teaching children about creative writing, I have had ample opportunity to reflect on how they might experience authoring texts in school, at home and at play. Digital texts - such as videogames and films - are hugely important components in how children experience storytelling and yet these experiences are largely neglected by schools. As a keep computer game player myself, I am curious about the way playing sandbox (e.g., Minecraft) and openworld games and creating naratives within them might mirror storytelling in print. And, of course, I am interested in what schools might learn from it. As my fieldwork will be carried out in and around Leeds, this will likely involve exploring the experience of EAL learners in digital literacy and authoring. Having started my teaching career in a diverse area of Birmingham, this is something close to my heart.<br /></p><p>I am going to use this blog as a place to digest and deposit my weekly reading. Writing here is primarily a way of making me accountable to myself (keep reading, keep writing!). If it also proves interesting for you, reader, that is a happy outcome for both of us. 😊<br /></p>Stefan Kucharczykhttp://www.blogger.com/profile/00010118048730771584noreply@blogger.comtag:blogger.com,1999:blog-6718246550130541087.post-2602735325565226622021-05-24T06:39:00.007+01:002021-05-28T04:17:48.784+01:00Computer games and 'deep play' <div>
<p class="MsoNormal" style="text-align: justify;"><b>“Computer games are not a waste of time. They help me think
strategically.”</b></p>
<p class="MsoNormal" style="text-align: justify;">That is the best excuse I could come up with when my wife
asked me whether I had spent the day wisely playing the strategy game <i>Rome:
Total War</i> all afternoon, rather than tackling the pile of assignments I had to mark.</p>
<p class="MsoNormal" style="text-align: justify;">In a way, this is true. I don’t run a business or manage other employees. I work alone,
usually teaching online, managing my own workload and switching between
a variety of self-generated creative projects. So, growing a city, managing an
army, designing a profitable dinosaur amusement park: these activities demand a
different kind of mental engagement than my usual work. And, yes, gaming is
also fun and, as a career in professional football management is unlikely at
this stage in my life, it offers a simulated experience for things I am
probably not cut out for (although, at 39, I still feel I have a season or two
in me as a non-league reserve goalkeeper).</p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgzUZqO264UjkxdPqznZjlFtcLgFZZTL2S-WZ2a_Z7CKza4fzVQekXMKr96213cL8Jvi-hz_4XETDleRbaStgkG-KGvHsaIx_45eJsHXPb-rLZwk7YLN_3K4r2rhcT1RjAoLlzi002KFGk/s1920/settlers2.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1920" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgzUZqO264UjkxdPqznZjlFtcLgFZZTL2S-WZ2a_Z7CKza4fzVQekXMKr96213cL8Jvi-hz_4XETDleRbaStgkG-KGvHsaIx_45eJsHXPb-rLZwk7YLN_3K4r2rhcT1RjAoLlzi002KFGk/w409-h230/settlers2.png" width="409" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Classic city bulding game, <i>The Settlers 2. </i><br /></td></tr></tbody></table><br /><br /></div><div style="text-align: justify;">I have come to see gaming not simply as a form of
entertainment or relaxation but, instead, occupying a space in my working life
that Alex Pang calls ‘deep play’ in his excellent book <a href="https://uk.bookshop.org/books/rest-why-you-get-more-done-when-you-work-less/9780241217290" target="_blank"><i>Rest</i></a>. Pang
defines ‘deep play’ as time spent on “hobbies that are challenging, mentally
absorbing and personally meaningful”. ‘Deep play’ is experienced through games,
sports or activities where we detach from the pressing demands of our lives: work, family commitments or other stresses. In doing so, we free up our
subconscious minds to chip away at puzzles, problems or strategies for the work
we have to complete. In <i>Rest</i>, Pang cites a cast of people from
Darwin to Tolkien to DNA discoverers Watson and Crick as examples of people who achieved
their aims (I am intentionally swerving the term ‘were successful’) whilst making deliberate
time for rest and play. Indeed, the ‘play’ in their lives might be a prime factor
in their achievements rather than a luxury rewarded afterwards.</div><p style="text-align: justify;"></p>
<p class="MsoNormal" style="text-align: justify;">Pang argues that, contrary to the modern myths about living a productive life, rest and play represent an important complement to work, rather than an absence of work. He draws on the research of German sociologist Sabine Sonnentag who suggests that engaging with activities
that offer us mastery, control, mental detachment and relaxation are the routes
to a more restful state. By doing so, we emerge more focused and efficient than
if we had spent the time working. I feel that these are precisely the sort of experiences
that can be offered by computer games.</p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEii8MhvCKZm5m88TbcIyts8yPPSKG_0b5166RmqLVuSHtvJ0jcafKj3qv4MO4ckQJNyqmqpwyuDHLCoifsI6Ag-V98a5BhbTATtijuPXvjrcS6G-nNCPT7UAj9l0yNnXg77wc7zFjUmhBBD/s640/Screenshot+2021-05-24+13.17.42.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="480" data-original-width="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEii8MhvCKZm5m88TbcIyts8yPPSKG_0b5166RmqLVuSHtvJ0jcafKj3qv4MO4ckQJNyqmqpwyuDHLCoifsI6Ag-V98a5BhbTATtijuPXvjrcS6G-nNCPT7UAj9l0yNnXg77wc7zFjUmhBBD/s320/Screenshot+2021-05-24+13.17.42.png" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Football management game, <i>Championship Manager 1994</i><br /></td></tr></tbody></table> <p></p><p class="MsoNormal" style="text-align: justify;">From recent personal experience of working on complex cognitive
tasks, I am now more convinced that regular immersion in the game world is not
simply a reward or a distraction but the grease on the wheels of the thinking
process. For example, my Masters dissertation,<a href="https://www.blogger.com/u/2/blog/post/edit/6718246550130541087/6726984853030027512?hl=en-GB" target="_blank"> a book project I have recently completed</a>, assignments and, yes, even this blogpost were all written against the
backdrop of game playing. At complex points where arguments had to be
clarified, wording needed to be loosened or - when writing fiction - a new plot
direction was required, I have found allowing my brain to wander, to focus on organising
battle strategies or tweaking my football tactics seems to allow the cognitive logjam
to free itself. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></p>
<p class="MsoNormal" style="text-align: justify;">Pausing to distinguish between types of games is also
useful. I have found that computer games offering complex opportunities for
narrative alongside gameplay the most effective for deep play. Console games
including racing, playable sports such as <i>Fifa</i>, first person shooters and combat
games (crush, kill, destroy games) might be a quick stressbuster, but losing
yourself deeper in the game requires something more substantive. On the other hand,
simulated strategy and sandbox games offer me an immersive experience that nudges
me towards a more restful experience. While I am happy to play new titles (e.g.,
<i>Elite: Dangerous</i>, <i>Jurassic World Evolution</i>, <i>Minecraft)</i>, I
find myself frequently returning to games from my childhood (e.g., <i>The
Settlers, Theme Park, Civilisation 2, Rome: Total War). </i>Familiarity seems
to accelerate the drift towards a more restful state. I know how to play the
games so there is no tricky, uncomfortable period of familiarisation. I can
quickly enter the game world and feel at once under control of the experience.
Yet, as they are simulation games offering great variety, there always feels
something more to learn. </p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxRVlq_x_jWprH4rf4m0ORiufV_TIPP6zl-SjYwzcnQrUwJSakFXa2_g6tk_kxDnzmpQGEo1lhO_n14p0cRPY0r2kBR-0zj-d35N6AR6MA5QMliOwUkyqtz5KuY_xQfHoDV4W63RJEVnwE/s1920/empiretw.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1920" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxRVlq_x_jWprH4rf4m0ORiufV_TIPP6zl-SjYwzcnQrUwJSakFXa2_g6tk_kxDnzmpQGEo1lhO_n14p0cRPY0r2kBR-0zj-d35N6AR6MA5QMliOwUkyqtz5KuY_xQfHoDV4W63RJEVnwE/w408-h230/empiretw.jpg" width="408" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Soldater, marsch!</i> Modern strategy game, <i>Empire: Total War</i><br /></td></tr></tbody></table> <p></p><p class="MsoNormal" style="text-align: justify;">While this undoubtedly offers me a way to a different, more
strategic state of mind, more recently I have come to reappraise what playing
computer games can offer my creative work. Specifically, I am beginning to see
a greater connection between entering the game world and generating creative
ideas for writing. I will explore that in a separate post.</p>
<p class="MsoNormal" style="text-align: justify;">For me, computer games are helpful in entering a state of deep play. For you, it may be something else. But, as a former primary school teacher, I know that playing computer games is an important part of children's leisure time. It is often seen as a distraction or an obstacle to effective working habits. Yet I feel that computer games may have an important role to play in children’s learning and
development, both in classrooms, bedrooms and the spaces in between. I know
this is a tough sell to those who work in education, but I am curious about
whether simulated strategy games played individually or collaboratively could
help children feel more satisfied with the balance between their home and
school lives, or how the playing of complex strategy games might help them
recharge and refresh. I think there is also potential for gaming to helping children
develop a deeper sense of narrative and authorial mastery over storytelling.</p>
<p class="MsoNormal" style="text-align: justify;">I hope to consider some of these issues during my
forthcoming PhD and explore some of the academic writing of Professor Judith
Good (University of Sussex), Professor Judy Robertson (University of Edinburgh)
and Professor James Paul Gee. </p>
<p class="MsoNormal" style="text-align: justify;">I am not advocating for any specific change at this stage,
but it does raise some interesting questions that are yet to be answered:</p>
<ul style="text-align: left;"><li><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="mso-list: Ignore;"><span style="font: 7pt "Times New Roman";"></span></span></span>In what ways could immersive gaming help
children at school refocus between intensive periods of academic work?</li><li><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="mso-list: Ignore;"><span style="font: 7pt "Times New Roman";"></span></span></span>Should parents, teachers and educators encourage children to play immersive
games in the same way we encourage them to read books?</li><li>To what extent do social attitudes about 'meaningful activities' mean that computer gaming is excluded from educational settings? Would it be right to change this? If so, how would that be achieved? </li></ul>
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<![endif]-->Stefan Kucharczykhttp://www.blogger.com/profile/00010118048730771584noreply@blogger.comtag:blogger.com,1999:blog-6718246550130541087.post-86460546247482089452021-05-07T15:30:00.004+01:002021-05-07T15:30:52.228+01:00Explainer video #2 - Helping children make sense of Shakespeare<p>To celebrate the date of Shakespeare's birth and death on 23rd April, we
are sharing some tips from our book to help teachers get to grips with
Shakespeare in the primary classroom. </p><p>In this video, Stefan explains how to read Shakespeare with primary
school children.</p><p></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="329" src="https://www.youtube.com/embed/kiVDWwR4Zeg" width="472" youtube-src-id="kiVDWwR4Zeg"></iframe></div><br /> <p></p>Stefan Kucharczykhttp://www.blogger.com/profile/00010118048730771584noreply@blogger.comtag:blogger.com,1999:blog-6718246550130541087.post-84390337324653305502021-05-07T15:26:00.011+01:002021-05-07T15:28:22.601+01:00Explainer video #1 - Why teach Shakespeare with primary school children?<p>To celebrate the date of Shakespeare's birth and death on 23rd April, we
are sharing some tips from our book to help teachers get to grips with
Shakespeare in the primary classroom. </p><p>In this video, Stefan explains why Shakespeare should be part of your
primary school curriculum.</p><p></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="346" src="https://www.youtube.com/embed/1piiKuRJpBQ" width="480" youtube-src-id="1piiKuRJpBQ"></iframe></div><br /> <p></p><p> </p><p></p>Stefan Kucharczykhttp://www.blogger.com/profile/00010118048730771584noreply@blogger.comtag:blogger.com,1999:blog-6718246550130541087.post-66055960609575930002021-05-07T15:20:00.005+01:002021-05-07T15:20:49.224+01:009 lessons learnt from writing our first book!<p>Writing a book is hard work... but worth it! What began as a retirement project for my mom, Maureen (yes, we say 'mom' in Wolverhampton) ended up as a self-published book of 44 pages in 2017, and is now on its way to become a 250 word pager with a proper publisher. Like I said, worth it.</p><p>So, over four years of writing, writing, rewriting and more writing, this is what we learnt.</p><p><b><i>Teaching Shakespeare in Primary Schools: All the World's a Stage</i> by Stefan Kucharczyk and Maureen Kucharczyk (David Fulton publishers) is due for release on 28 September 2021. </b><br /></p><p></p><p>1.<span> <span> </span></span>Shakespeare is really good. Shakespeare loved language and he used it to retell classic, timeless stories that his audience knew and loved. The difference? His versions are definitive – they have not endured for 400 years by accident.<br /><br />2.<span> </span><span> </span>Empathy. Shakespeare deals with the big stuff: life, love, death and all the rest of it. His characters are heroes, villains, lovers, victims, brawlers and lowlifes. There is something within each play and character that all children from Year 1 upwards can empathise with.<br /><br />3.<span> </span><span> </span>Teaching children to ‘appreciate’ classic literature is nonsense. Instead, we want children to see Shakespeare’s plays as part of shared heritage - a lineage of stories stretching from the Greek myths to Star Wars. This gives it much more relevance.<br /><br />4.<span> </span><span> </span>But we do not assume you agree! Other books about Shakespeare assume you are already convinced of his brilliance. We don’t. We know many teachers have bad memories from meeting Shakespeare at school. We do our best to show you how to do it differently.<br /><br />5.<span> </span><span> </span>Shakespeare was a poet, not a novelist so it is not surprising his language can be a bit tricky to make sense of. But teaching rich new vocab and encouraging children to read between and beyond the lines is what good teachers do already.<br /><br />6.<span> </span><span> </span>Nobody knows what Shakespeare meant to say. There is no true meaning we need to decipher. His plays are ‘gappy’ and this invites children to decide for themselves what it all means (and, yes, this does take the pressure off you!)<br /><br />7.<span> </span><span> </span>As well as being a full-English workout, Shakespeare can allow teachers to consider the things not in the curriculum: aesthetics, creativity, digital literacy (Minecraft, films, Twine). Being literate is more than lifting words off the page.<br /><br />8.<span> </span><span> </span>There’s more to Shakespeare than Romeo and Juliet. Lesser studied plays such as The Tempest and The Winter’s Tale are rich with opportunities for creative storytelling and interesting discussions. Our book looks at six plays to support a whole-school approach to teaching Shakespeare.<br /><br />9.<span> </span><span> </span>Writing a book is wonderful and exhausting! As we have learned, writing a book requires you to be brave and bold. If you want to enact change, if you feel education can offer more, you have a duty to speak. This, we hope, is what our book will do.<br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6YEXQU4ZJKTPQ7fhiVFxRjwitONGQIxSyD6sfD7ShfUx5Pvcq6ldQiK0fRrGx7H6RKesrUFpu2S9ZRLUX51AIPpqL6CPnoA2YZUALHWTS46l2hRMEmnsg5e7OP6pE6cvvWW5I_73Bl4kq/s2048/81M-iN06yVS.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1449" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6YEXQU4ZJKTPQ7fhiVFxRjwitONGQIxSyD6sfD7ShfUx5Pvcq6ldQiK0fRrGx7H6RKesrUFpu2S9ZRLUX51AIPpqL6CPnoA2YZUALHWTS46l2hRMEmnsg5e7OP6pE6cvvWW5I_73Bl4kq/w283-h400/81M-iN06yVS.jpg" width="283" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Pre-order our book at <span style="color: #f45d22;"><span data-offset-key="a66pb-1-0"><span data-text="true">https://www.waterstones.com/book/teaching-shakespeare-in-primary-schools/stefan-kucharczyk/maureen-kucharczyk/978036790351</span></span></span><span data-offset-key="a66pb-2-0"><span data-text="true"> </span></span></td></tr></tbody></table><span> </span><br /><p><br /></p>Stefan Kucharczykhttp://www.blogger.com/profile/00010118048730771584noreply@blogger.comtag:blogger.com,1999:blog-6718246550130541087.post-67269848530300275122021-05-07T15:10:00.000+01:002021-05-07T15:10:05.415+01:00Teaching Shakespeare in primary school - a new book out in September 2021!<p>I'm delighted to share that our new book, <i>Teaching Shakespeare in Primary Schools: All the World's a Stage</i> (David Fulton publishers) is due out in September 2021. The book, written together with Maureen Kucharczyk, is an essential guide for battling the Bard with primary school learners. <br /><br />First a confession: we are not Shakespeare scholars, nor do we have a background in the dramatic arts. Instead, we are teachers with a love for Shakespeare. Yet we both felt that a suitable, beginners guide to teaching Shakespeare with primary children didn't exist. So we set out to write the book that we wished we had been given at the start of our teaching careers. <br /></p><p>Yes, we've both overcome bad memories of learning Shakespeare at school. That is why we adopt a creative, flexible and child-centred approach to teaching Shakespeare.<br /></p><p>If you've always wanted to give Shakespeare a go but don't know where to start, this is the book for you.</p><p>Here's a quick summary of what's inside...<br /><br />Part 1 considers the ratinale for teaching Shakespeare in primary education. <b>Chapter 1</b> starts with the question ‘Why teach Shakespeare?’. The chapter begins by addressing the debates around heritage literature – the classics – and their place in twenty-first century primary education. <br /><br /><b>Chapter 2</b> explores how Shakespeare can be surprisingly relevant to social issues and learning preferences of twenty-first-century children. This also looks at digital technology and the role it can play in making Shakespeare relevant.<br /><br /><b>Chapter 3</b> considers classroom practices for reading and responding to Shakespeare’s plays. This chapter is written in two parts or acts (no eye-rolls please - this is Shakespeare after all!) Act I deals with ‘words’ and considers language, texts and reading Shakespeare’s plays. Act II deals with ‘deeds’ and examines approaches to responding to Shakespeare’s plays through drama and creative writing.<br /><br />In Part 2, we move to the schemes of work for developing a whole-school approach to teaching Shakespeare in primary literacy. <b>Chapters 4 to 9</b> explain how to teach one of Shakespeare’s most famous plays in each of primary years (Years 1 to 6). The plays are: <i>The Tempest, A Midsummer Night’s Dream, Romeo and Juliet, Julius Caesar, Macbeth </i>and<i> The Winter’s Tale</i>.</p><p>The book is available to preorder - click <a href="https://www.amazon.co.uk/dp/0367903512" rel="nofollow" target="_blank">here </a>or on the link below.<br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqUZwOhVqoHGMBNlDkWdn2b7jqrfU7ruVJfavIvjXP_MDP8DVowRIKzGnuyXTEnPEqkzY9Z4fVDNVnv4SZGG2t2w_kJZNoXq2iI6-x6QmN2ON7pZ8FhTGASyGI1-CxbcQY0n8280PKLNNB/s2048/81M-iN06yVS.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1449" height="413" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqUZwOhVqoHGMBNlDkWdn2b7jqrfU7ruVJfavIvjXP_MDP8DVowRIKzGnuyXTEnPEqkzY9Z4fVDNVnv4SZGG2t2w_kJZNoXq2iI6-x6QmN2ON7pZ8FhTGASyGI1-CxbcQY0n8280PKLNNB/w292-h413/81M-iN06yVS.jpg" width="292" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">www.amazon.co.uk/dp/0367903512<br /></td></tr></tbody></table><br /><p><br /></p><p><br /></p>Stefan Kucharczykhttp://www.blogger.com/profile/00010118048730771584noreply@blogger.comtag:blogger.com,1999:blog-6718246550130541087.post-46044509281033864972021-01-25T10:07:00.008+00:002021-08-20T19:43:31.284+01:00Progression in primary drama - going beyond the National Curriculum<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4rrS4sz-LMrC6yp4ThI3YIbJ0pgv7th9racNxO0BSdVC1NglYTo49hXMImwCOmMfStzb-5hFnPXmLSVu9RE4V20fVm7pXoN1X3aRra4omlXQsFIqv-OfY7md4uryaFUU5n412wsTgrx-z/s2048/hezekiah+text+macbeth.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1454" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4rrS4sz-LMrC6yp4ThI3YIbJ0pgv7th9racNxO0BSdVC1NglYTo49hXMImwCOmMfStzb-5hFnPXmLSVu9RE4V20fVm7pXoN1X3aRra4omlXQsFIqv-OfY7md4uryaFUU5n412wsTgrx-z/s320/hezekiah+text+macbeth.jpg" width="227" /></a></div>Drama is an integral component of primary English teaching. It is the engine that drives creative responses to stories, helping children explore characters, settings and predicaments. Yet the primary National Curriculum for England (DfE, 2013) makes scant reference to drama. Some generic guidance indicates the importance of speaking, listening and performing although these points are both too obvious and too generalised to be useful to teachers and subject coordinators hoping to embed drama across the whole school.<p></p><p><br />When writing our forthcoming book, <a href="https://www.waterstones.com/book/teaching-shakespeare-in-primary-schools/stefan-kucharczyk/maureen-kucharczyk/9780367903510" target="_blank"><i>Teaching Shakespeare in Primary Schools: All the World's a Stage</i> </a>(Routledge, David Fulton, 2021), both Maureen and I felt that whole-school drama guidance for primary teachers - so integral to teaching Shakespeare's plays - was notably lacking from online resources currently available (apologies if you have produced such a document but we could not find it!). We decided to compile our own. In fact, you may have found this blog post from the reference in our book!</p><p>Our 'Progressions in Primary Drama' is posted below. It will soon be available as a downloadable pdf from our TES store. </p><p>We have designed our progression for the three phases of primary education (KS1, Lower KS2, Upper KS2) around three strands identified in the National Curriculum. These are <b>making drama</b>, <b>performing and reflecting</b> and <b>drama conventions</b>. Each of these strands is again sub-divided into key areas. You will find the progressions below organised by strand and by phase.</p><p>As well as highlighting a range of key skills, we also felt it was important to provide examples of what these skills might look like in practice and how they might feed into children's writing. We have called this 'going beyond the National Curriculum' as we felt that our progression covers key areas essential for a 21st Century education that are entirely absent from the current policy. For example, we look at how children might be encouraged to appreciate aethetics, the link between drama and music, staging drama with growing independence and confidence and employing digital technologies such as film, video recording and digital animation. Our guiding principle was that drama should be exploratory, fun and something that emboldens children by allowing them to make meaningful decisions. </p><p>We hope you find this useful. If so, please leave us a comment below. Feel free to share this blog online although please do tag us if sharing on Twitter using the handles <a href="https://twitter.com/ARTiculate_UK" target="_blank">@ARTiculate_UK</a> and <a href="https://twitter.com/C21Shakespeare" target="_blank">@C21Shakespeare</a>.</p><h1 style="text-align: left;">Progression in primary drama by strand</h1><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl9HoRC7-9OVDFHa2nOFl0fTjbQmDqDKHZbzoOT1TNjwr8cM0cS32HUgQ11UKiML14ObUEGh7u3_UoI00NwNYS7P5cO5R_EM__-YLIUEBaV_kFCY9evcf3ICuH7_SZOm-7zY4jCnuEsGNF/s2048/Making+drama+GIF.gif" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="686" data-original-width="505" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl9HoRC7-9OVDFHa2nOFl0fTjbQmDqDKHZbzoOT1TNjwr8cM0cS32HUgQ11UKiML14ObUEGh7u3_UoI00NwNYS7P5cO5R_EM__-YLIUEBaV_kFCY9evcf3ICuH7_SZOm-7zY4jCnuEsGNF/s16000/Making+drama+GIF.gif" /></a></div><p></p><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguWZl3iO0g85qRQk5yu9-InJ3D7TtSdob5GlcrXDMzhOkQ_T5P3Yu2zKedG38rwvAXyLepEVASjNMrVNTtiJxKjjCKT2MQFYZbVLdhL8Hd5PABXyvhVbTXJkDzAYk9amqNbSLaoExNT0KF/s2048/Performing+%2526+reflecting.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1681" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguWZl3iO0g85qRQk5yu9-InJ3D7TtSdob5GlcrXDMzhOkQ_T5P3Yu2zKedG38rwvAXyLepEVASjNMrVNTtiJxKjjCKT2MQFYZbVLdhL8Hd5PABXyvhVbTXJkDzAYk9amqNbSLaoExNT0KF/s16000/Performing+%2526+reflecting.png" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3BVSZynl-qNRo5m9xJKgQUbutY8s38Ndep7BnJGjxQOSg5tv5w8IxR8UWHqBWjI-IdfvNlBMiGfEoc6CqHiH1PxYHytK_cYA941S5DnlLGzw_La4mSmKVNcm7HlLCbDGTKHmpUCepaiNk/s2048/Drama+conventions.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1704" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3BVSZynl-qNRo5m9xJKgQUbutY8s38Ndep7BnJGjxQOSg5tv5w8IxR8UWHqBWjI-IdfvNlBMiGfEoc6CqHiH1PxYHytK_cYA941S5DnlLGzw_La4mSmKVNcm7HlLCbDGTKHmpUCepaiNk/s16000/Drama+conventions.png" /></a></div><p><br /></p><h1 style="text-align: left;">Progression in primary drama by phase</h1><p style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO83EiHiPiSuwkTXZjzgeHkbMjigEKlL6SoVES2WRAmBJ2ZDoePmL3nbeVEPbRJUW4RPlE2ElXGDzY5If0wRe3b2BPK9jSQCjuF_T5D0MtBTixAnQXROntp8W6XMQgGawAdFz1PyuIDuJK/s2048/Drama+in+Key+Stage+1.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1025" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO83EiHiPiSuwkTXZjzgeHkbMjigEKlL6SoVES2WRAmBJ2ZDoePmL3nbeVEPbRJUW4RPlE2ElXGDzY5If0wRe3b2BPK9jSQCjuF_T5D0MtBTixAnQXROntp8W6XMQgGawAdFz1PyuIDuJK/s16000/Drama+in+Key+Stage+1.png" /></a><br /></p><p><br /></p><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtloap-NOvtHdexZ58h_2fMEqrYupyevRGlLDNPfRT_x9tSiBjxhOfj2YDD0BEPmXP-PXT5dwtirhUcuDhYsEpBZ6pBTqu1yqZwBWnX31VIifZM5JPPS2fttWcDUTseduhrKIAViqc5lZ5/s2668/Drama+in+Lower+Key+Stage+2.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2668" data-original-width="1178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtloap-NOvtHdexZ58h_2fMEqrYupyevRGlLDNPfRT_x9tSiBjxhOfj2YDD0BEPmXP-PXT5dwtirhUcuDhYsEpBZ6pBTqu1yqZwBWnX31VIifZM5JPPS2fttWcDUTseduhrKIAViqc5lZ5/s16000/Drama+in+Lower+Key+Stage+2.png" /></a></div><p></p><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibQ0ixsBbO7dJ92Xptnkqk2QXfqUkgfBk6wVI3-YDGer5em6DCdZaAVJoKM_qM7Q-BSyTiLDya7jG3K5HlleFs7j6vC186L41Rgf4pHuccr2kj9o6T4vkr8aB95L1AIPe9mCHhlvPGcHvj/s2821/Drama+in+Upper+Key+Stage+2.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2821" data-original-width="1115" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibQ0ixsBbO7dJ92Xptnkqk2QXfqUkgfBk6wVI3-YDGer5em6DCdZaAVJoKM_qM7Q-BSyTiLDya7jG3K5HlleFs7j6vC186L41Rgf4pHuccr2kj9o6T4vkr8aB95L1AIPe9mCHhlvPGcHvj/s16000/Drama+in+Upper+Key+Stage+2.png" /></a></p>Stefan Kucharczykhttp://www.blogger.com/profile/00010118048730771584noreply@blogger.comtag:blogger.com,1999:blog-6718246550130541087.post-17596456967956969532020-09-07T09:24:00.011+01:002020-09-07T09:51:15.550+01:00Open? Reflecting on an experiment to give away my teaching resources<p style="text-align: justify;"><i>In August 2019,<a href="https://www.articulateeducation.co.uk/2019/08/pay-as-you-feel-for-my-teaching.html" target="_blank"> I started an experiment</a>. Rather than sell my teaching materials online via a platform, I would share them in a pay-as-you-can arrangement. One year on, I reflect on the experiment and why (spoiler alert!) it has left me poorer.</i></p><p style="text-align: justify;"><i></i></p><p style="text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiujsh1HB9rlds5mUs6gYS42uYSs-3ZIgRUtmNqIQgiPCyWOiXXHHG2l2Xbys2p1KoNEsTsmXLyl4t9UsZRpcbl4B8r7U4lepq__fa6ZCxwdrnJNJzsS2V1652TQZG6JDGzN6LXSrG6gwdW/s1920/neon-open-sign-1404389631jnS.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1353" data-original-width="1920" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiujsh1HB9rlds5mUs6gYS42uYSs-3ZIgRUtmNqIQgiPCyWOiXXHHG2l2Xbys2p1KoNEsTsmXLyl4t9UsZRpcbl4B8r7U4lepq__fa6ZCxwdrnJNJzsS2V1652TQZG6JDGzN6LXSrG6gwdW/s320/neon-open-sign-1404389631jnS.jpg" width="320" /></a></div><br /><i></i><p></p><p style="text-align: justify;"></p><p style="text-align: justify;"><b>⌚ 7 minutes</b> <br /></p><p style="text-align: justify;">Last summer, I read the excellent book called <i>Open: how we'll work, live and learn in the future</i> by David Price. This book discussed how developments in technology are altering how we share and gather information and, as such, have transformative implications for how we live, work and learn. These implications are relevant now, Price argues, and will become even more so in the future. It's a fascinating book. Price argues that the spirit of open enterprise (also called Creative Commons) allows traders and service providers to cut out large consultancy agencies, publishing platforms and so on by speak to their clients directly. If you have a training course to sell, for example, avoid an agency: instead promote it via social media and people can pay you directly. It makes services cheaper by cutting out the middleperson and more equitable: those with less pay what they can, those who can pay a little more. Reading this book in 2019 before the Covid-19 pandemic, his ideas seemed like a station we would pull into in a decade's time. Re-reading it in 2020, it seems that we are already there. <br /></p><p style="text-align: justify;"><br />In many ways the concept of open sharing in education is already well established. Many teachers, for example, are using twitter and other platforms to share resources, ideas and expertise to replace the existing channels for professional development. It is collegiate, more democratic and helps connect people who may have otherwise never have met. One of the universities I work for actively encourages students to develop an online personal network to support them as they embark on their careers as teachers. This immediate and personalised way of communicating has effaced traditional approaches to CPD and is well within the spirit of what David Price calls being 'open'.<br /><br />It does, however, present problems. Instead of being supported by coaches and CPD providers, teachers take on that supporting role themselves. While they might be highly experienced and innovative practitioners, this does represent an unpaid addition to their existing role. School leaders and those in government are released of their responsibility to provide ongoing support for qualified educators. Why break the slender budget, the argument goes, when the market can provide it for free? <br /></p><p style="text-align: justify;"><br /><b>So how did reading <i>Open</i> change my approach to consultancy? <br /></b><br />ARTiculate Education is my educational consultancy. I design training courses for teachers, workshops for children, deliver talks and make teaching materials. Now you have the word 'consultant' floating in your mind. This might now be followed by the image of a sportscar, a big pile of cash, someone swanning around in a suit with an iPad. Far, far from it. The tightening of school budgets over the last five years has hit my business hard. Headteachers don’t have the money to pay for CPD courses or learning experiences for children. Instead, teachers get what they need for free, online. This has implications. Over the last few years, I have seen my income dwindle to almost nothing. I supplement my income by selling planning materials and teaching resources online through the TES platform. These are priced around £3-£4 each and I was making around £40 a month after TES had taken its cut (about 50%). I would estimate that at least 75% of the work I do now is for free.<br /></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="304" src="https://www.youtube.com/embed/1SVp9RRqAeE" width="540" youtube-src-id="1SVp9RRqAeE"></iframe></div><p style="text-align: justify;"><br />After reading David Price's book last August, I decided to run an experiment. Rather than selling my resources online, I would make them all free. A resource that was once £3 or £4 was now free to download and use. In return, if the teacher liked what they used, they could make me a donation of £1-£2 via PayPal. That would be enough to keep me working, keep the roof over our heads and to keep me churning out CPD materials and training videos. The pay-as-you-feel approach seemed more in the spirit of open sharing, more democratic and equitable. Student teachers could take what they needed for free, more experienced teachers and subject leaders earn a salary high enought to afford to pay a few pounds. If just 10% of people who downloaded it paid something towards its production, I reasoned, then I would break even. As Price speculates, people will be willing to pay for quality and acknowledge the labour of another. <br /><br />But this hasn't worked out quite as I imagined. The number of downloads of my materials has skyrocketed (about 5000 in the last 12 months) and the feedback has been positive. On the other hand, I have not received a single donation. Nothing. It is certainly a puzzle. If I had left them as paid materials, I would have made around £500. By making them available for free, I have made nothing. I should point out that I am not bitter about this outcome, just surprised. (Yes, I almost wrote 'disappointed' here. Once a teacher...)<br /><br /><b>And so...?</b><br /><br />There are many possible explanations. Yes, teachers can find free materials online and are happy to share them via Twitter for free. True, people may be reluctant to pay money to someone online who they have never met. Also, I appreciate teachers are too busy to go back and pay someone for a resource weeks after they have used it. Maybe they think my materials suck. And yet, as the popularity of platforms such as <i>TES</i> suggest, there are many teachers out there willing to pay for teaching materials often without seeing them in advance. I have met teachers who now make hundreds of pounds a month making and selling schemes of work.<br /><br />Perhaps, culturally, the open, pay-as-you-feel approach has yet to catch on. But as the economic fallout from Covid has hit hard those who are self-employed and those working in the educational gig economy (supply teachers, independent researchers, freelance consultants and specialists), the need for reciprocal open sharing is more important than ever. <br /><br />In the meantime, I will go back to selling my materials again. I don't feel good about it. Maybe in the future, the window will open wide enough for the creative commons to become a real working partnership. <br /><br />But if you do want to support the work I do, you can find the link to <a href="https://www.articulateeducation.co.uk/p/sponsor-me.html" target="_blank">sponsor me here</a>. </p><p style="text-align: justify;">You can access my TES online shop at: <a href="https://www.tes.com/teaching-resources/shop/articulate_education">https://www.tes.com/teaching-resources/shop/articulate_education</a> </p>Stefan Kucharczykhttp://www.blogger.com/profile/00010118048730771584noreply@blogger.comtag:blogger.com,1999:blog-6718246550130541087.post-29257946922678143612020-09-02T00:00:00.000+01:002020-09-02T07:52:16.778+01:00Not going back<p style="text-align: justify;"></p><p style="text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgwkmXPO7ouQqhDBlf3gGwGBkR5QsHkLk_XDhak65gg2zvGe4R-1LLn20QHZg_PP3PqPxEt-TxB3mUvM2pxRTMofid2tQKMglltS1rolx6FHrTeRBG4mnOm56caBo184sXH_1FzPrsvJaf/s1200/pencil_macro_red_artist_to_draw_art_create-1367113.jpg%2521d.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="799" data-original-width="1200" height="341" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgwkmXPO7ouQqhDBlf3gGwGBkR5QsHkLk_XDhak65gg2zvGe4R-1LLn20QHZg_PP3PqPxEt-TxB3mUvM2pxRTMofid2tQKMglltS1rolx6FHrTeRBG4mnOm56caBo184sXH_1FzPrsvJaf/w512-h341/pencil_macro_red_artist_to_draw_art_create-1367113.jpg%2521d.jpg" width="512" /></a></div><br /><b>⌚</b> <b>3 minutes</b> <p></p><p style="text-align: justify;">I often feel quite sad at this time of year. Teachers and children prepare to return to the school, a mass migration, a new beginning in which I no longer take part. Since leaving teaching in July 2014, the next time a September comes around I feel like I should be doing something: labelling trays, organising my classroom, buying new stationery (best bit), getting excited about subjects I will teach, or books that I will read and looking forward to getting to know the children who will call me sir (or 'miss'). As mundane as these tasks are, they were rituals of the job I performed for many years and symbolised the start of something new, something fresh.<br /><br />No, things are not all bad. I can have a longer, cheaper summer holiday. I don't have to get up at 6.30am. I am far less tired than I used to be. Now, I often find that I have a great burst of creative energy at this time of year - new ideas seem to come easily, I have a renewed determination to achieve the things that are important to me. I have spent the last few weeks making great progress on the book I am writing, restarted my blog, enjoyed reading a wide range of research about teaching. But, it's still there in the back of my mind: I won't be going back to my classroom. <br /><br />Over the last few years, I have written a lot about the reasons why I chose to leave primary teaching. It took a while to confront, but it is something that I have found cathartic to explore and, in doing so, something that will hopefully help others in time to come. It was still the right decision, but that doesn't mean that I don't feel a little lost, a little exiled without the familiar to return to.<br /><br />You can read about it in this blog post I wrote for <a href="https://www.bera.ac.uk/" target="_blank">BERA</a> earlier this year: <a href="http://www.bera.ac.uk/blog/teacher-identity-in-a-performative-age-coming-to-research-through-autoethnography">www.bera.ac.uk/blog/teacher-identity-in-a-performative-age-coming-to-research-through-autoethnography</a>. It even gave me the impetus to start Teacher Talking Time (<a href="http://www.teachertalkingtime.co.uk">www.teachertalkingtime.co.uk</a>), a listening project where I interview teachers about their experiences in and out of the classroom. You can read mine here: <a href="https://www.teachertalkingtime.co.uk/2019/09/stefan.html">https://www.teachertalkingtime.co.uk/2019/09/stefan.html</a> Starting this blog and hearing the voices of others was a way for me to untangle the threads of my career as a teacher, both then and now.<br /><br />If you are going back to school today, I wish you every bit of luck for what is to come. I am a little envious, I admit, but I'll be thinking about you as you go through the familiar steps, try out new ideas, start the lifecycle afresh.<br /><br />But, if like me, you won't be going back and are feeling a little adrift, I know how you feel. If you ever need to talk about it, please get in touch.<br /></p>Stefan Kucharczykhttp://www.blogger.com/profile/00010118048730771584noreply@blogger.comUnited Kingdom55.378051 -3.43597327.067817163821154 -38.592223 83.688284836178838 31.720277tag:blogger.com,1999:blog-6718246550130541087.post-38610520566942154062020-09-01T09:50:00.021+01:002020-09-01T11:38:27.299+01:00What does storytelling software Twine have to offer young writers?<p style="text-align: center;"><i> </i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUWESZblwyfDQ3bWPOssQ7xMIuFRMktrta37DEP0aP09dGwVZRAb_z8FMzvdwjCE7UFjPICrfEzhX_DnQnSsBQkDxEWKuwkFhCapodHvTSqGliLedzPBtW-fXfgachuXqpL-0flg27F0Zl/s170/170px-White_Bear_Black_Mirror.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="170" data-original-width="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUWESZblwyfDQ3bWPOssQ7xMIuFRMktrta37DEP0aP09dGwVZRAb_z8FMzvdwjCE7UFjPICrfEzhX_DnQnSsBQkDxEWKuwkFhCapodHvTSqGliLedzPBtW-fXfgachuXqpL-0flg27F0Zl/s0/170px-White_Bear_Black_Mirror.png" /></a><i> </i></p><p style="text-align: justify;"><i>A</i><i>fter a chance bit of Googling this week, I stumbled across Twine - an interactive storytelling platform for building text-based games. It is a platform with pot</i><i>ential for developing narrative in our schools<u>.</u></i></p><p style="text-align: justify;"></p><p style="text-align: justify;"><b>⌚ 6 minutes<br /></b> </p><p style="text-align: justify;">I have spent my summer reading. After spending lockdown in Thailand with a rapidly deleting selection of books (reading <i>A Casual Vacancy</i> was a last resort), coming back to a house of full bookshelves was a treat. It felt good for the soul to escape the worries of the present by slipping into another, fictional world whose problems were not my concern. I have also been playing a lot of computer games, revisiting many of the games that I enjoyed as a child: <i>The Settlers</i>, <i>Civilisation</i>, <i>Frontier Elite</i>, <i>Rome Total War</i>. If you're not a 1990s computer game fan then, no, you're not alone but please indulge me as I reminisce. This summer, with time on my hands, I started to think seriously about why it was I enjoy playing these games, and why they seem to offer the same level of escape and deep immersion as reading a book.<br /> </p><p style="text-align: justify;">As a teacher of writing, I have a deep interest in how we lose ourselves in stories, how we 'narrativise' our thoughts and how we play in fictional worlds. The games I like are open-ended and allow me to choose the narrative path I follow. In playing them, I find I am internalising a narrative about myself as the storyteller. I am the mastermind behind the strategy for global dominance in <i>Rome: Total War</i>, I am the master architect of the village in <i>Settlers</i>. Yes, unbelievably I am also married.<br /><br />Playing games is like daydreaming in the world of a book, something I am also guilty of. They are fun but they are more than a simple distraction. Open-ended strategy games are absorbing - the 'flow' of engagement as it has been termed. These games encourage a growing and satisfying mastery of the skills - satisfying because you feel in control of how the game is panning out. They require strategy and tactics to complete, strategies that can be refined or experimented with over time. In many ways these types of games link to my interest in teaching children the power of authorship and the satisfaction of creating an imaginary world. <br /><br />In primary education, games are used to teach the skills of coding (<i>Scratch</i> animation) or as a form of engagement (<i>Mathletics</i>, <i>Reading Eggs</i>) but seldom are they taught for their narrative qualities. <i>Minecraft</i> might be an exception and even then it is not universally used in schools. We don't necessarily use games as a form of play (digital play) and it is children's imaginative play that is key to being creative, to stepping beyond what is possible and into a creative space. So, do games and digital storytelling platforms have something to add as we try to nurture children's creative talent? I think they do, and I will return to this theme again over the next few months (I feel a vlog series coming on, try not to throw up). <u><b><br /></b></u></p><p style="text-align: justify;">
<u><b>Get to the point! What is Twine?</b></u><br />
</p><p style="text-align: justify;">Searching for something that encourages digital play but also helps children discover narrative, I stumbled across <i>Twine</i> <a href="http://www.twinery.org">www.twinery.org</a>. <i>Twine</i> is a free online platform that allows users to create online text-based adventure games (similar to choose-your-own adventure books). The software is free to download and fairly intuitive to use. I watched this short video <a href="http://www.youtube.com/watch?v=ZnARX2ToqYc">www.youtube.com/watch?v=ZnARX2ToqYc</a> and had started playing around with it about 10 minutes later. </p><p style="text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/ZnARX2ToqYc" width="320" youtube-src-id="ZnARX2ToqYc"></iframe></div><div style="text-align: justify;"> </div><p style="text-align: justify;">What is interesting about <i>Twine</i> is that it doesn't require you to have extensive knowledge of coding or programming - a few simple codes are enough to get you started. You write short paragraphs of text, just a few sentences long, and then you present the reader with two or more options as to how the character should progress. This is called a 'branching narrative' as each option looks like a forked branch of a tree. This starts to build a step by step story where all the potential choices are mapped out - it is this narrative map through which your reader has to navigate. At a more advanced stage, images and photos can be added.</p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: 0px; margin-right: 0px; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRVPFJTiFSkDS-CIzIKLMyvg24wmP7rA8rQYxoHTlVDvKK8aAGoC_v6uoe49hJMtX8RFko2rVSIMk-A_sgoRfihYYZo7YE-i9pGz6ijhXHXKqz0M_-2AK8yEC1Xw75vGRA_EQHKSi6bq5B/s1920/Screenshot+2020-09-01+16.43.14.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1920" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRVPFJTiFSkDS-CIzIKLMyvg24wmP7rA8rQYxoHTlVDvKK8aAGoC_v6uoe49hJMtX8RFko2rVSIMk-A_sgoRfihYYZo7YE-i9pGz6ijhXHXKqz0M_-2AK8yEC1Xw75vGRA_EQHKSi6bq5B/w512-h288/Screenshot+2020-09-01+16.43.14.png" width="512" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>The start of my interactive story map - note the different paths through the story. </i><br /></td></tr></tbody></table><div style="text-align: justify;"><br /></div><p style="text-align: justify;"><u>
<b>And this matters because?</b>
</u><br /> </p><p style="text-align: justify;">There is strong potential for using this in primary literacy throughout KS2. I think it has the following benefits:<br /></p><ul style="text-align: justify;"><li><b>helps young writers deepen their understanding of character development</b> - the choices characters make impacts the outcome of the story</li><li><b>it encourages genuine experimentation with narrative</b> - this seems to be an obstacle for achieving greater depth in writing at KS2</li><li><b>promotes independence and control over writing process</b> - children can determine several outcomes for their stories</li><li><b>gives purpose to writing</b> - these stories can be shared online for others to read</li><li><b>encourages collaboration, negotiation, discussion - </b>this platform is ideal for children to writing in teams</li><li><b>digital literacy</b> - allows children to engage with a digital technology in a meaningful way</li></ul><p style="text-align: justify;"></p><p style="text-align: justify;"></p><p style="text-align: justify;"></p><p style="text-align: justify;"></p><p style="text-align: justify;"></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: 0px; margin-right: 0px; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEispktPmTkrcb64bYidVBG7cEVVU3a8JLNHRkgnZS0wTtUYWrAJE5zY9gkmf7kU2MW1Sd_GrZwkmVExZmv3niaK3_rtaWUyKWXeYSMIuoMs7XZaCU2xWk1neZgGzg-cCFE5TieGGaf1S13q/s1920/Screenshot+2020-09-01+16.44.21.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1920" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEispktPmTkrcb64bYidVBG7cEVVU3a8JLNHRkgnZS0wTtUYWrAJE5zY9gkmf7kU2MW1Sd_GrZwkmVExZmv3niaK3_rtaWUyKWXeYSMIuoMs7XZaCU2xWk1neZgGzg-cCFE5TieGGaf1S13q/w512-h288/Screenshot+2020-09-01+16.44.21.png" width="512" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>An example story step in draft mode. Notice the two choices in the double square brackets - these are the options for the reader.</i><br /></td></tr></tbody></table><p style="text-align: justify;">
<u><b>So what?</b></u>
<br /></p><p style="text-align: justify;">I am considering using this software as part of a creative writing workshop in a primary school, possibly as an after-school club. I think it would be interesting to observe how children use this platform and in what ways, and to what extent, it impacts on their identity as writers. I think it could be a lot of fun too.</p><p style="text-align: justify;"><br />For now, I have started work on a story for my nephew to try out inspired by the classic text-based game <i>Sea Base Delta</i> but with a twist. I'll share some updates as I go along. In the meantime, if you have used Twine or have some suggestions, please get in touch. <br /><br /><br /></p>Stefan Kucharczykhttp://www.blogger.com/profile/00010118048730771584noreply@blogger.comtag:blogger.com,1999:blog-6718246550130541087.post-87347229653987877802020-08-31T11:07:00.000+01:002020-08-31T11:07:41.079+01:00ARTiculate Education - rethinking primary creative writing<div dir="ltr" style="text-align: left;" trbidi="on">
<div style="text-align: justify;"><span face="">Hello! 你好! </span></div><div style="text-align: justify;"><span face=""> </span></div><div style="text-align: justify;"><span face="">My name is <b>Stefan Kucharczyk</b> and I am an experienced primary school teacher, lecturer and writer based in Leeds (UK). I have always loved losing myself in stories: in books, films, computer games, theatre, lego and anything and everything else. But my real passion has always been writing. <br /><br />Now, I work with primary school children and teachers to support them in making writing an immersive, creative and fun experience. I am interested in the potential of creative, enquiry-based learning to change the way we think about education in primary schools (and education in general) and to help prepare young learners to live and flourish as literate citizens in an exciting world. I also work in Higher Education as a university lecturer and tutor. <br /><br />No, I am not an all-seeing expert with schemes of work under my arm, but I have experience, passion, imagination and the willingness to take a risk - all that you need to change the world. <br /><br />To book me for workshops, CPD, speaking engagements or just to say "hello", please email me at <a href="mailto:articulateeducation@gmail.com">articulateeducation@gmail.com</a>.<br /><br />Thanks,<br /><br />Stefan </span></div>
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Stefan Kucharczykhttp://www.blogger.com/profile/00010118048730771584noreply@blogger.comtag:blogger.com,1999:blog-6718246550130541087.post-17528982450172746982020-05-08T07:50:00.001+01:002020-05-08T07:50:34.396+01:00A thought on 21st Century Education<div dir="ltr" style="text-align: left;" trbidi="on">
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One of the educational buzzwords that I am attached to is ‘21st Century education’. I love it. And, while I am partly sure it is connected to my love of sci-fi and watching the Jetsons as a child, I think it encapsulates the idea that known-unknown that is how people will live and work in the near and far future. As a teacher, this interests me for several reasons. The first being that, as technology transforms our society at breakneck speed, this uncertain future is actually quite close. The second being that growing conviction that the way we educate children is not preparing them for this future.<br /><br />A challenge for educators has always been how to make education as relevant as possible for learners; relevant not only for their future but also for their present. Contending with a society that is being rapidly transformed by technology, education has difficulty maintaining its relevance. I want to avoid cliched generalisations, but there is much truth in the idea that many of the jobs that primary aged children will do have not been invented yet. Perhaps more importantly, the way future workers will do those jobs will be the thing to change.<br /><br />This change, driven by technology is changing what it means to be literate in the 21st Century. My interest is in children’s writing. As children will likely need to become more socially, culturally and financially self-representing in the future, how they communicate this will require them to be flexible, adaptable and – yes – creative in how they do this. It is up to educators to respond.<br /><br /><b>Where is this thought going next?</b> What could the English programme of study look like if we made it more about independence and problem solving?<br /><br /><br /></div>
Stefan Kucharczykhttp://www.blogger.com/profile/00010118048730771584noreply@blogger.comtag:blogger.com,1999:blog-6718246550130541087.post-53996758594239275462020-05-08T06:49:00.000+01:002020-05-08T06:51:57.462+01:00BERA blog post on creativity and teacher identity<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhuVoDSrk2xMKBndlpmLlq3X3rG5rAkEqf8phbdFiCVVfhqM44zRSu0um0BFs3bI0eizWnk95cRE_jsAjSYUC5J0fb3SMEiAGQ0aydpZJgEKo8bnZIkLr20kPLSa5ChnYbC_ZwwqDjDHGg/s1600/images.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="138" data-original-width="366" height="120" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhuVoDSrk2xMKBndlpmLlq3X3rG5rAkEqf8phbdFiCVVfhqM44zRSu0um0BFs3bI0eizWnk95cRE_jsAjSYUC5J0fb3SMEiAGQ0aydpZJgEKo8bnZIkLr20kPLSa5ChnYbC_ZwwqDjDHGg/s320/images.png" width="320" /></a>My first BERA blog post 'Teacher identity in a performative age: Coming to research through autoethnography' was published this week. In this piece I reflect on the themes of my recent MRes which explored the experiences of my teaching career using a personal, reflective research method - autoethnography. <br />
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The main question is how can teachers promote creativity - which thrives on risk - in a competitive education that prioritises performance.<br />
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The feedback to this post has been really positive. Please access my blog post here: <a href="https://www.bera.ac.uk/blog/teacher-identity-in-a-performative-age-coming-to-research-through-autoethnography">https://www.bera.ac.uk/blog/teacher-identity-in-a-performative-age-coming-to-research-through-autoethnography</a></div>
Stefan Kucharczykhttp://www.blogger.com/profile/00010118048730771584noreply@blogger.comtag:blogger.com,1999:blog-6718246550130541087.post-61945224148422611192020-02-25T12:43:00.000+00:002020-02-28T05:38:19.143+00:00Tweeters and twitter: a creativity debate<div dir="ltr" style="text-align: left;" trbidi="on">
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A few weeks ago, the Twitter algorithm fairy threw a discussion about creativity into my feed. I have a natural aversion to putting my hand into this kind of hornets' nest, but on this occasion I couldn't resist. The discussion that was playing out reflects the evidence that creativity is something teachers care about and see it as a skill to be valued in education, and yet it is still something misunderstood and misappropriated. </div>
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A primary school teacher had posted to Twitter a picture of an art display in her classroom. See a snippet of the picture below. The display showed pictures of birds the children had painted in watercolours and was captioned with a comment to praise her class for their work. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN3wNwKpPZGTewp8wFKOkJqHEgqWfltwyjhj-gecMZ2j9wKiJtAq3JbDfw-pdy7KlEaLJu9rh8kthGJmFG__03NHhfh-1ix-XuLrY4yVM3K_oh0_HE1YIkY2lbTkUOKCl31c-ZojN2SGKj/s1600/identical+birds.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="973" data-original-width="1488" height="262" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN3wNwKpPZGTewp8wFKOkJqHEgqWfltwyjhj-gecMZ2j9wKiJtAq3JbDfw-pdy7KlEaLJu9rh8kthGJmFG__03NHhfh-1ix-XuLrY4yVM3K_oh0_HE1YIkY2lbTkUOKCl31c-ZojN2SGKj/s400/identical+birds.jpg" width="400" /></a></div>
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Not so, said Twitter. The birds are all identical: how is this going to develop creativity in children? Wrong, came the counter-argument: children in primary school need to be fluent in skills before they can attempt to be creative. Independent artwork is a waste of effective teaching time. Imagine the frustration, they said, of trying to achieve something without being skilled enough to realise what was in their heads. Mastery of skills must come first: to break the rules, they first need to understand the rules.</div>
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I should say at this point that I have deep sympathy for the teacher. Offering fair judgment on the quality of a lesson in a twenty minute drop-in observation is tricky: judging a teacher’s methods from one picture is near impossible. The birds, it has to be said, were lovely and her praise for the children was warm and positive. </div>
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The 'creativity tomorrow' argument is common, and there is an apparent logic to it. Yes, skills are important for any kind of creative work. These skills are best learnt when taught by a teacher. Follow this reasoning and we arrive at the idea that better skills are likely to produce better artists. </div>
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It is in this last point that lies the problem. This argument is based on the false assumption that creativity is a product. It’s the beautifully polished piece that is valued as learning, not the silent or messy parts: thinking, planning, mistakes. In many ways, this is symptomatic of the culture in education that prizes attainment over achievement. When product is valued over process, true creativity is stifled. You might get better artwork but not necessarily better artists.</div>
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As much of the research on creativity suggests (see the writing of Anna Craft, Margaret Boden, Ken Robinson and others), <i>creativity</i> isn’t an end product: it is a process, a way of learning. Yes, having something to show for it at the end gives the work purpose, but it is the journey that gives it value. The assumption that teaching skills alone is the route to producing better artists is false. It won’t, just in the same way that teaching grammar and sentence types by rote might make better writing, but it won’t necessarily produce confident, independent and imaginative writers. Trust me, I have taught little else over the last five years. </div>
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Creativity does not lie in the end product: it is in the making of decisions, choices and, yes, mistakes that help creativity to flourish. As Ken Robinson writes about in <i>Out of Our Minds, </i>artists, writers, dancers, scientists, scultpters and anyone else engaging with creative enquiry, it is the process that refines the work. It is this realisation that needs to be acknowledged in our instutions of learning. 'Creativity tommorow' needs to be replaced with 'creativity always'. Learners need to be involved in decision making and they need to be trusted to apply their skills independently, with a guiding adult on hand to support them when and how they need it. </div>
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So, our beautiful, identically painted tweeters could have been (and hopefully were) given wings and the children encouraged to use the skills they had learnt about colour, applying paint, sketching and the rest to create their own artworks based on birds. True, it's very possible their independent work might not hve been quite as good as if they had followed their teacher’s instructions step by step: but being given the time to think (and, yes, suffer frustration) like an artist, they will have learnt something subtle but valuable from the process. </div>
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You may not be able to break the rules if you don't know them; but equally you can't break the rules if you don't know how they can be broken or even why you would want to. Creative people thrive on risk-taking and experimentation. It requires time, opportunity, motivation and a supportive environment where you have help to turn to if you need it. It is these prerequisites that may be lacking. There has to be a place for this kind of learning in our education system. </div>
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Stefan Kucharczykhttp://www.blogger.com/profile/00010118048730771584noreply@blogger.comtag:blogger.com,1999:blog-6718246550130541087.post-13730181035192808682019-11-20T10:01:00.001+00:002019-11-20T10:01:34.466+00:00Green Man movie trailer<div dir="ltr" style="text-align: left;" trbidi="on">
In October 2019, I worked with a Year 2 class on a project about the English folk story of the Green Man. If you're not familiar with the story, the Green Man (or Jack in the Green as he is sometimes known) is a mythical creature who nutures the trees and the woods and entices unsuspecting people out of their homes and into the woods. A full suamry of the project will follow but as part of it, the children made a film.<br />
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Here is the trailer for Green Man! The full movie is due in December 2019. Watch this space...<br />
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<span style="font-size: large;">Green Man -- Trailer #1</span></div>
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Stefan Kucharczykhttp://www.blogger.com/profile/00010118048730771584noreply@blogger.comtag:blogger.com,1999:blog-6718246550130541087.post-8241389433321505612019-10-25T13:25:00.001+01:002019-10-25T18:33:30.641+01:00Video project in Cape Town, South Africa<div dir="ltr" style="text-align: left;" trbidi="on">
<span id="goog_40262924"></span><span id="goog_40262925"></span>I'm currently in Cape Town working as part of a research project in primary schools in the city. The project is looking at the experiences of new migrant children to school. I'll write more about the project once it's complete but it has been great to act as a consultant supporting the research with advice on visual literacy and film-making.<br />
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The project uses The Arrival by Shaun Tan as a way of getting the children involved to share their own experiences. I am also helping the children turn their ideas into a short film. This is the trailer I made with the children based on their idea about telling the story of a new child arriving at their school. All the footage was taken by the children!The finished movie will hopefully be ready soon. Watch this space!<br />
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Stefan Kucharczykhttp://www.blogger.com/profile/00010118048730771584noreply@blogger.comtag:blogger.com,1999:blog-6718246550130541087.post-73772199853074993272019-09-13T11:17:00.001+01:002020-09-10T04:25:58.789+01:00Button it and butt out - helping children find their voices in creative writing<div dir="ltr" style="text-align: left;" trbidi="on">
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Teachers are terrible for butting in, don't you think? If you're a teacher, or if there's a teacher in your family, you'll know what I mean here. In my local Headingley cafe, I am always wildlife watching for parent-teacher hybrids with their talk of 'making good choices' and loud interruptions to children's chatter with choice dollops of wisdom. I am just as culpable. Taking my nephew to the park, the teacher that lurks within me spots the opportunity for quick lesson on plant life or bird migration. Cue deep sighs and athletic eye-rolls from my nephew. Reading a book with him is too tempting to pass up an impromptu phonics lesson or when playing computer battle simulations together on <i>Rome Total War</i>, I can't help myself from giving him a little lesson on the Roman Empire as I pulverise his centurions with my Egyptian chariots. The inner teacher bursts out, hulk-like, from your unsuspecting human form.</div>
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As a teacher of writing, I have become more aware of the perils of the big 'butt-in'. When I am trying to coax ideas from the children, or get them to describe something in a certain way, I am well aware of how quick I can be to jump in with suggestions ("why don't you write it like this...") or with mid-sentence corrections (Capital letter! <i>jabs finger</i>). Unsure, the children then defer to me when trying to shape their ideas: "Can you tell me what to write?" or the worst: "I've forgotten what you told me to put". Either they don't trust themselves to be able to think of something to say, or they have my game sussed and know I will swoop in and write it for them. </div>
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Helping children phrase sentences isn't a bad thing, it is after all what we are there for. But in getting children writing, I want to hear their voice, not mine. I don't want the writing to be formulaic and repetitive parroting back to me my sentences, syntax and phrases. That's partly why I have stopped using pre-written sentence types, model texts and writing fames. I want the writing to be a response to the way they think and talk, not how I have decided they will best demonstrate achieving the writing objectives. </div>
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In several recent writing workshops, I have been invited to work with schools to help the children be more creative in how they write. The teachers identify that children struggle to compose and experiment with ideas and, higher up the school, to inject a little of the voice and verve of a real writer. So, I do away with the writing WAGOLLs and we write together, following the rule of 'what sounds good' rather than 'what looks good'. Text can be refined and developed at the editing stage later but the unique voicing comes in at the drafting stage.</div><div dir="auto"> </div>
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When teachers drop in on the sessions to see how the children are getting on, it is not difficult to see the root of the problem. Teachers are quick to jump in on children's handwriting, correct punctuation, or offer a suggestion ("Why don't you say...") Composing is then reduced to guessing what is in the teacher's head rather than finding a way to articulate what is in your own. Regionalisms are sanitised (I love reading a bit of Yorkshire in a child's story), quirky phrases are straightened out, writing objectives are shoe-horned in ("why don't you say it in the passive voice?").</div>
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When you read as a reader, you don't notice the punctuation. If you do, it's a bad piece of writing. It's the writer's voice that carries you. If you don't believe me, then read Nelson Mandela's book <i>Long Walk to Freedom</i>. No, technically it's not an accomplished work of grammatical genius, but I defy anyone to read it and not hear the great man's voice in your head. When you read as a writer, you begin to see that there is no hard and fast rule with punctuation, syntax or grammar. It is the plot, the characters and, crucially, the voicing that carries it. For adults, see Douglas Adams. For children, Eve Bunting's "where the fountain splashes dark" is a beautiful, grammatically incorrect example from <i>Night of the Gargoyles</i> that, in Year 6, would get the green highlighter.</div>
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Teach good example sentences and phrases from literature as much as you like but if you want the children to find their voices, you need to know when button it, when to butt out and when to let them write.</div>
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<span style="color: #999999;"><i>Keywords: creative writing, primary, author's voice, children as authors </i></span></div>
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Stefan Kucharczykhttp://www.blogger.com/profile/00010118048730771584noreply@blogger.comtag:blogger.com,1999:blog-6718246550130541087.post-67357456113678137792019-08-30T08:59:00.000+01:002019-08-30T09:05:41.460+01:00Time to change: a project-based learning approach to primary writing<div dir="ltr" style="text-align: left;" trbidi="on">
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<i>The English National Curriculum has been criticised for being prescriptive and robbing teachers of the opportunity to experiment. So what is the alternative? </i></div>
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Project-based learning (PBL) has a bit of a tarnished reputation. If you went to school in the 1980s and before, you might remember wonderful afternoons doing 'topic': a wonderfully evocative phrase to those who remember it as essentially a byword for cutting things out and sticking them in a scrap book. I've spoken about <a href="https://www.articulateeducation.co.uk/2019/08/mr-collins-and-ping-pong-balls-lesson.html" target="_blank">my former teacher Mr Collins and his accidental genius</a> before but I remember one particular topic on fashion. Fashion topic was little more than cutting pictures of clothes out of the Littlewoods catalogue and putting them into groups while Mr Collins heard children read. He'd also made no effort to pre-tear out the pages with the bras on. It would quite possibly be career-ending today. To recent education reformers, my aforementioned encounter with the lingerie section of the Littlewoods catalogue is the perfect exemplar of how PBL was shorthand for lazy planning, poor teaching and ineffective learning. </div>
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Today, PBL has new champions who regard it as the perfect antidote to standardisation. Despite this, it is seldom seen in classrooms today. Indeed, it is so out of vogue that most younger teachers wouldn't remember it. In its reimagined form, PBL is framed as learning challenges. It involves learners working on projects that promote collaboration between learners. Rather than being loose and baggy, PBL sets learners objectives, purposes and timeframes as well as promoting creativity, experimentation and risk taking. Projects may be instigated or led by the teacher or generated by the learners themselves. Goal orientation gives the work purpose and direction but the flexibility nurtures a richer skill set such as communication, creative thinking and evaluation. If you're interested in reading more about the modern PBL debate, I'd recommend reading the research on this. Stephanie Bell has written about PBL and 21st Century learning (2010), Stavroula Kaldi and others have looked at PBL in primary education (2011) and David Price's book <i>Open</i> (yes, that again!) considers this too. </div>
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It appeals to me because it presents an opportunity for children to be creative and reflective, to experiment, make mistakes and learn from them and, to varying degrees, to direct the course of their learning. In writing, this might involve the children choosing the genre, form or purpose of the writing. It would give them opportunities to follow their interests such as film-scripts, comic books and interactive stories. It can also be used to help them set realistic targets to manage their progress. Above all, giving children some ownership over the process of learning acknowledges that they have a voice. </div>
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It sounds risky and it is perhaps for this reason that it is seldom seen in this form in modern classrooms where there is little time (or appetite) for risk-taking, and the blurred lines between collaborators makes individual assessments difficult. But the skills that it develops and the high engagement of learners that it encourages means that it is hard to deny it is part of the future for primary education.</div>
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It has been suggested that PBL degrades the role of the teacher, or subverts <i>knowing </i>behind <i>doing</i>. But far from reducing the role of the teacher, effective PBL can only happen with a highly skilled practitioner; one who has the knowledge to conceive projects for children to work on but the skills to guide and steer learners towards pushing the boundaries of what they know and what they can do. It is hard to get away from the fact that working in new way will redefine the role of both the teacher and the learner. </div>
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Now, I know what you are thinking. You may have read the above and thought 'That all sounds lovely' or 'I would love to be able to teach like this' quickly followed by a 'but' or a 'however'. And, yes, I'm well aware that teachers' hands are tied by the curriculum and by the existing working culture. It has become so engrained, it is highly possible that most teachers can't imagine what an alternative might look like.</div>
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This is something I want to explore further but rather than offer some delicious pie in the sky, I intend to promote an alternative to the tried-and-tested approach to teaching and learning in writing. Over the next few weeks, I intend to outline how the programme of study for writing in English might be reimagined along the lines of Project-Based Learning. The ideas aren't fully formed yet but I have the nub of an idea that I think has value and could change the way we teach writing for the better. If you would like to join the conversation, please get in touch.</div>
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<span style="color: #999999;"><i>Keywords: project-based learning, PBL, primary education, creativity, literacy</i></span></div>
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Stefan Kucharczykhttp://www.blogger.com/profile/00010118048730771584noreply@blogger.comtag:blogger.com,1999:blog-6718246550130541087.post-47359233693857496172019-08-28T16:12:00.000+01:002019-08-28T16:29:11.561+01:00Is your classroom a creative place?<div dir="ltr" style="text-align: left;" trbidi="on">
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Is your classroom a creative place? If you are a teacher pondering this question, the answer you give will depend on how you understand the term 'creativity'. It might also give an idea about how much you value creativity as a skill for learning and how much of it goes on in your lessons. </div>
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Defining creativity can be a challenge because how we understand the term is often tied up with how we feel about ourselves as a creative being. It can be quite personal. For some people, the idea of being creative is about art or dance because this seems like when people are at their most imaginative. If you can't draw, that line of thinking goes, then you're not creative. For others, creativity is about being a free spirit, breaking free of the rules. These are both misleading and it is the persistence of these myths that has helped many people decide that they are not a 'creative type'. That only certain people can be creative is yet another myth. </div>
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The truth is creativity is best described as the generation of ideas that are original to the individual and that have value. Some people have called it 'applied imagination'. It doesn't have to be a once-in-a-lifetime invention that touches the lives of millions (although, of course, it may become that in time) but it pushes back the idea of what you thought was possible. Yes, it's quite a broad definition. What this does mean is that it unshackles creativity from art because having ideas that are new can happen in any discipline in the right hands. This definition is about creativity as way of learning. Indeed, I can tell you I have observed (and taught) many an art lesson that involved not an ounce of creative involvement from the children. </div>
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The myths about art and creative, Bohemian people persist, however, and there are lots people- including teachers - who feel they don't fit this stereotype therefore they are not creative. My wife, for instance, hated colouring in between the lines when she was a child <i>therefore - </i>by her own logic - she is not a creative person. She is, by the way, but she stubbornly refuses to acknowledge it. For people like Dr Wife, their creative side is dead if indeed it ever existed. Untangling this complex, subjective viewpoint is problematic when trying to develop a creative classroom. </div>
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Another challenge for educators is understanding how it fits into teaching and learning. Research suggests that teachers value it as a skill and think that it is beneficial for the children. They are right to do so for reasons I'll explore later in this blog. All I'll say now is that many argue the ability to think flexibly, problem solve and apply imagination – in other words: be creative – is <i><u>the</u></i> essential skill for 21st century learning. But often teachers find it difficult to separate out the idea of teaching creatively from teaching for creativity. On the face of it, there isn't much between them but in fact understanding this distinction is probably the best first step into making your classroom a more creative place to learn.</div>
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Teaching creatively is about teacher input. For example, this might be using film to teach literacy rather than a book; presenting a maths problem in an interesting and engaging way; or maybe just making your classroom environment bright and attractive. This certainly might help pupil engagement or make the classroom a more fun place to be, but these things are all about the teacher's creativity. In fact, this is just traditional teaching done in a more engaging, interesting way. Of course, there is certainly value to this. I mean, who wouldn't want a teacher who is fun and imaginative? Yet, it doesn't mean creativity will flourish. With the creative impetus coming from the teacher, the traditional power balance of the classroom stays exactly the same. Creative teacher input can easily be followed by worksheets. Using a hand puppet to explain phonics guarantees nothing. </div>
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Teaching for creativity, on the other hand, is a much more radical and complicated idea. And, from my experience, this is mostly absent from primary classrooms - and if we are being honest, it is largely absent from education in general beyond the Early Years. To teach for creativity, the children need to be given ownership over the process of learning. In this way, creativity is partly about self-directed learning, finding solutions to problems and stretching what you thought was possible. For example, asking the children what they would like to write about in literacy and discussing how they might go about it would engage children not only with the lessons but with the process of learning itself. The challenge gives it direction and purpose. Setting children open-ended challenges, investigations, design projects and so on invites them to propose solutions and work together to achieve things. If you've read my blog post about <a href="https://www.articulateeducation.co.uk/2019/08/mr-collins-and-ping-pong-balls-lesson.html" target="_blank">Mr Collins and the ping pong balls,</a> you'll see what I mean. If you haven't read it, you've really/maybe/not missed out. If we are honest with ourselves, when do we really ever see this happen in a meaningful way? I have worked in lots of schools that claim to be creative hubs and I am yet to see a good example of teachers letting the children take the lead. </div>
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Often a problem with this approach is that it challenges the teacher to work with the children in a different way and that can feel like a risk. I mean, aren't we supposed to be the experts who instruct? In this frame of mind, teachers often feel like they have to <i>teach</i> children how to be creative. Take a minute to think about that. I mean, how much do you really have to say to a seven year old about being imaginative? No, the person who needs to change is the teacher themselves. As one academic put it, the teacher needs to be the 'compass' not the map and being prepared to guide the children through problems and challenges rather than leading them. I'll write more about this over the next few weeks and about what this might look like in practice.</div>
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So, when trying to decide if your classroom is in fact a creative place, think about how often you involve children in determining the process of learning. How much ownership do you really give them? If the answer is 'not very often' or 'not at all' then it might be worth thinking about how you can change it.</div>
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I will write more about creative classrooms in further blog posts. I have lots of ideas and this is a great place to start the conversation about creativity. If you would like further reading on creativity, I can recommend 'Out of Our Minds' by Sir Ken Robinson. It's an excellent read. </div>
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<i><span style="color: #999999;">Keywords: creative, creativity, classroom, primary education</span></i></div>
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Stefan Kucharczykhttp://www.blogger.com/profile/00010118048730771584noreply@blogger.comtag:blogger.com,1999:blog-6718246550130541087.post-43276575826047678462019-08-26T14:33:00.000+01:002019-08-26T14:40:48.358+01:00Mr Collins and the ping pong balls: a lesson about creativity from the dark days of 1988<div dir="ltr" style="text-align: left;" trbidi="on">
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I'd like to share with you an experience from my time as a child at school. It is a story about a teacher, a lesson, something I learned. You can put the handkerchief away as this isn't a sob story, and you don't need to jot anything down as it doesn't represent a masterclass in teaching from a lost age. It is an experience that was accidently inspiring and formative, in spite of what may have been intended, rather than because of it. It is the story of Mr Collins, a ping pong ball and a DT lesson.</div>
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First a bit of context. The date is a little fuzzy, but it was possibly 1988 (once I've explained you'll see it certainly has a 1988 feel to it) and I was in Year 2 at my first school in South Staffordshire. That's what upwardly mobile Eighties families called (and still call) parts of Wolverhampton. I was probably seven years old and was a child fairly unmoved by the whole 'school' thing. My class teacher was the aforementioned Mr Collins. At this point, I will say I don't remember liking Mr Collins very much. I was terrified of his 'black book' (yes, he actually had one), he loathed the rip of Velcro on my shoes, and even then I knew there was something sinister about the way he pronounced 'years' as 'yerrrrs'. Shudder. All of which is beside the point, of course, but it does give extra weight to the fact that I remember some of his lessons thirty years later.</div>
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The most memorable were the DT lessons on construction. The task was simple: to build a machine that would lift a ping pong ball from the floor to the table top. We had several afternoons to complete this task. We could build the machine from timber, plastic pipes, ropes and so on that he supplied and to construct it, we were to use actual tools: drills, saws, hammers – take your pick, little ones. By now, you can see what I mean by a 1988 kind of vibe. Indeed, the teaching input was of a similar fashion. Beyond Mr Collins explaining the task and setting us to work, there was little more to it. This is what I mean by <i>accidentally</i> inspiring. He sat at his desk doing proper teacher work such as hearing children read; we happily set about sawing, hammering and generally being busy with tools. </div>
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When I have recounted this story to student teachers, I have quite enjoyed their general sense of astonishment. <i>What, he just left you to get on with it? How would you have learnt anything from that? What an awful teacher!</i> And while this story might induce some wry smiles from more experienced teachers, disbelieving at how far teaching has progressed since that day in 1988, I have grown to understand the impact it had on me as a child. </div>
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While Mr Collins sat back, we were free to work. My partner Daniel and I learnt, not from our teacher, but from working with each other. We found out what worked (and what didn't) when attaching two pieces of wood; we used what we remembered from playing with technical Lego to help us build a pulley system to raise a platform to lift the ball. No, our machine didn't work when it came to the final test – the ball kept rolling off as it lifted – but we realised what would have worked from seeing it not work, if that makes sense. Failure was our teacher.</div>
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The point of this is not to romanticise my school days. I feel the astonishment of my students when they hear about Mr Collins and the ping pong ball demonstrates the fact that this kind of independent learning – an unstructured, child-led learning challenge – is so rare in primary education today that it stands out as to seem eccentric, almost radical. As archaic as the methods seem to us, in another light they are almost deliciously edgy and modern. Mr Collins was a genius! Accidentally. This is creative problem solving and risk taking, and applied to real doing with hammers and saws. The teacher took a backseat, the children worked independently, supporting each other when they faced an obstacle. No, we certainly couldn't have learnt to read this way, but it was (accidentally) a powerful way of getting us to think for ourselves.</div>
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As a child, this taught me that I was good at creative problem solving, that trial and error is satisfying and failure is a part of success. For someone who snoozed through much of school, this was something that I really woke up for and I genuinely think this helped me see myself as someone who was good at creative thinking. As a teacher, the lesson is just as powerful. It teaches me this kind of problem solving task is something that can help children thrive. Given the right tools, children are quite capable of teaching themselves in some circumstances. It is our responsibility as teachers to give them the time and opportunity to do it meaningfully. It is not just an ideological point about teaching and creativity: being creative is an experience that can change a child's perception of themselves in ways we don't expect. </div>
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Over the next few weeks, I am going to write more about creativity looking at it's place in primary education and how we might reimagine literacy teaching to give children more ownership. Please feel free to join in the conversation.</div>
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<span style="color: #999999;"><i>Keywords: creativity, primary education, creative, problem solving </i></span></div>
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Stefan Kucharczykhttp://www.blogger.com/profile/00010118048730771584noreply@blogger.comtag:blogger.com,1999:blog-6718246550130541087.post-59360137045646648002019-08-21T13:13:00.000+01:002019-08-21T20:22:45.142+01:00A talk at the University of the Western Cape<div dir="ltr" style="text-align: left;" trbidi="on">
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Last month, I submitted my Masters by Research thesis at Leeds Beckett University. My topic was teacher identity and creativity and on Tuesday, I was delighted to be invited to speak on it at the University of the Western Cape. It was lovely to meet the staff from the Faculty of Education and I thank them for going easy on me with the questions! It was my first academic talk and I am glad it was in my home-from-home of Cape Town.</div>
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I'll spare you the full 15,000 words, but the research was into my identity as a teacher and how growing accountability is reshaping not only the role of teachers but also how they see themselves as trusted professionals. Although this autoethnographic research was into my own story as a teacher, exploring the experiences of others is something I am following up through my Facebook blog <a href="https://www.facebook.com/teachertalking1" target="_blank">Teacher Talking Time</a>. </div>
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The key aspect of this research was in the area of creativity in primary education. If the process of learning and working creativily involves risk taking, experimentation, and learning from failure, how can this be part of an education system that demands product over process and penalises teachers for failure to ensure progress? In view of literaxy, how can we develop children into writers who have the voice and verve of real authors if they are excluded from any say in the process?</div>
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This is just a brief summary of my ideas on this but if you'd like to talk about this further, I'd love to hear from you. </div>
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<span style="color: #666666;"><i>Keywords: creativity, teacher identity, University of the Western Cape, performativity, Kucharczyk, autoethnography, primary education, literacy, writing</i></span></div>
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Stefan Kucharczykhttp://www.blogger.com/profile/00010118048730771584noreply@blogger.comtag:blogger.com,1999:blog-6718246550130541087.post-87610295942894241972019-08-07T18:31:00.004+01:002020-09-01T11:39:36.755+01:00Pay-as-you-feel for my teaching resources<div dir="ltr" style="text-align: left;" trbidi="on">
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One of the most influential books I have read over the last few months is <i>Open: how we'll work, live and learn in the future</i> by musician, educator and fellow Leeds resident, David Price. If you haven’t come across it before, I can thoroughly recommend it. </div>
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In his book, David Price explores new trends in working and learning made possible by the internet and the rise of social media. There are several ideas from <i>Open</i> that have powerful implications for education and I will explore several of these on this blog in the next few months. One of the most important parts of being ‘open’ is about reciprocal sharing. </div>
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<br />Over the last few years, I have been turning my ideas into buyable teaching resources available from my shop on the <i>TES</i> platform. I put together short and long planning prompts and Medium Term Planning documents for creative writing, literacy, and cross-curricular units of work. <br /> </div>
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Selling resources is a vital source of income to support my independent work (most of the work I do is for free). The platform, understandably, takes a cut from each sale. This means I have to raise the price to make any kind of profit and teachers don’t get value for money. <br /> </div>
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With this in mind, I have made almost all of my teaching resources free for teachers to use but, to keep my work going, I ask for a sponsorship for each resource people download. Each resource comes with a suggested donation – usually £1 or £2 – but it works more on a pay-as-you-can approach. Payments can be made securely via <a href="https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=LTAQEX6YFK626&source=url" target="_blank">Paypal</a>. <br /> </div>
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Sharing resources in this way not only makes my ideas more open, it also makes them cheaper. The more people who donate for what they download, the more resources I can produce. Everyone wins!<br /> </div>
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To find out how to support me, please visit the ‘<a href="https://www.articulateeducation.co.uk/p/sponsor-me.html" target="_blank">sponsor me</a>’ page or drop me an email: <a href="mailto:articulateeducation@gmail.com">articulateeducation@gmail.com</a><br /> </div>
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You can access my TES shop through the <a href="https://www.articulateeducation.co.uk/p/teaching-resources.html" target="_blank">Resources</a> tab.<br /> </div>
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If you are interested in reading David Price’s book, follow the <a href="https://www.amazon.co.uk/Open-well-work-learn-future/dp/1909979015/ref=sr_1_7?qid=1565198859&refinements=p_27%3ADavid+Price&s=books&sr=1-7&text=David+Price" target="_blank">link</a> to visit his author page on Amazon. <br /> </div>
Thanks for your support!<br /><br />
<span style="color: #999999;"><i>Keywords: David Price, open, creative commons, education, creative literacy resources, Stefan Kucharczyk, professional learning network </i></span></div>
Stefan Kucharczykhttp://www.blogger.com/profile/00010118048730771584noreply@blogger.com