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Using Venn Diagrams to compare the abstract

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New programme: Thinking Moves online training

We are launching webinar and online based Thinking Moves training for schools and individuals. Download our brochure for details.

Our thinking ability is what makes us distinctively human. Yet we have no generally accepted approach to teaching thinking - and no common vocabulary to describe different ways of thinking. This, when you think about it, is extraordinary. Imagine trying to teach or learn maths if we did not have commonly accepted terms such as add, subtract, multiply and divide.

Thinking Moves A - Z provides a vocabulary for thinking. The moves themselves are not new - we all use them in our learning and our life every day. But now we have a way of talking about how we think, and that gives us a means to work on improving the effectiveness of our thinking. Please follow this link to order a copy of the new Thinking Moves A - Z book.

Thinking Moves A - Z is a structured approach to thinking about thinking - a framework for metacognition. In this video, Roger Sutcliffe explains how it works.

Students at Sandringham Primary, Newham, London could remember all 26 Thinking Moves in their very first session with facilitator, Paul Kell

Year 3 students at Bunscoill Rhumsaa in the Isle of Man used Thinking Moves to plan speeches about their favourite predator.

Resources

Thinking Moves A - Z Book: comprehensive guide to all 26 Thinking Moves, with associated games, exercises and other learning activities;

Thinking Moves Free Resources: selection of useful teaching materials as part of our Teacher Toolkit

Thinking Moves Premium Resources: more teaching materials and plans for inquiry based lessons, covering the full range of Thinking Moves;

Thinking Moves Calendar: tips for incorporating Thinking Moves into all areas of the curriculum, and skill building webinars;

Thinking Moves Evaluation: survey based evaluation tools to monitor teacher and student progress with the adoption of Thinking Moves and impact on metacognition

Training

We offer a range of supporting resources to help you build Thinking Moves into your teaching and learning:

Introduce you to Thinking Moves A - Z;

Show you how to enrich inquiry based learning programmes, such as Philosophy for Children, by incorporating Thinking Moves;

Show you how to build Thinking Moves into the main curriculum;

Give you practical guidance on how to embed Thinking Moves in your school's overall approach to teaching and learning.

Price for a one-day course including initial teaching resources is £1,000 for up to 25 participants, with an introductory reduction to £750 for courses delivered before July 31st 2020.

Subscription for premium resources is £250 per year for whole school access and £50 per year for individual access.

Metacognition Made Simple

Research by the Education Endowment Foundation has shown that effective strategies for metacognition and self-regulation:

Have consistently high levels of impact;

Are better when taught in collaborative groups so that learners can support each other and make their thinking explicit through discussion;

Require pupils to take greater responsibility for their learning;

Can be particularly effective for low achieving and disadvantaged pupils.

Thinking Moves A - Z supports every step of the EEF's recommended framework for metacognition and self-regulated learning.

How to Use Thinking Moves

Regular reference by teachers to Thinking Moves will motivate pupils to practice and demonstrate different sorts of thinking. Here's an example of how to use two Thinking Moves, Think Ahead and Zoom in/out in your classroom:

You will find all 26 moves in Roger Sutcliffe's book: Thinking Moves A- Z.

Find out more

Contact bobhouse@dialogueworks.co.uk for more information

Thinking Moves A - Z is a DialogueWorks' copyright 2019

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New programme: Thinking Moves online training We are launching webinar and online based Thinking Moves training for schools and individuals. Download our brochure for details. Our thinking ability is what makes us distinctively human. Yet we have no generally accepted approach to teaching thinking - and no common vocabulary to describe different ways of thinking.

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Socratic Triads and other methods of Philosophical Inquiry with P4C through Dialogue Works

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Socratic Triads and other methods of Philosophical Inquiry with P4C through Dialogue Works

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What is P4C?

P4C is an approach to teaching and learning based on philosophical inquiry. It shows teachers how to teach through dialogue, facilitate student-led inquiries and get to know the students better.

P4C shows students how to think independently, reason effectively, communicate persuasively and explore their values. The students have a strong say in the content of a lesson and a safe space to discuss views on a wide range of topics.

P4C is fun: students and teachers love it. Take a look at this video from Bow School, London to see what we mean.

What is P4C Plus?

P4C Plus adds two important innovations:

Thinking Moves A - Z adds a new vocabulary for metacognition and thinking skills development.

Philosophical Teaching extends P4C into a pedagogy which can be used across the entire curriculum, on the basis of our P4C Plus teacher training.

P4C Plus is well suited to International Baccalaureate and other schools, where inquiry is at the heart of the curriculum. IB teachers who have been trained in P4C Plus, report how much they appreciate what the courses teach them about the practice of inquiry.

P4C Plus creates space for open inquiry in response to a stimulus, or provocation. Without practice in open inquiry, where the pupils make and choose their own questions for discussion, the spirit of inquiry can fade away. With it, every lesson can be seen by pupils as an opportunity to ask questions - whether questions of meaning or value judgement, or questions seeking information.

P4C Plus gives teachers practice and guidance in philosophical facilitation moves that widen or deepen inquiry. It helps teachers keep dialogue constructive, focus on concept connections, draw on relevant reflections and push for reasons.

The best philosophical teacher will also emphasise the valuing of virtues. And in this respect P4C Plus again aligns well with the IB's Learner Profile and Attitudes.

What are the foundations of P4C and P4C Plus?

P4C draws on Socratic questioning, Vygotsky's constructivism and Dewey's ideas of democracy in education. Mathew Lipman developed P4C 40 years ago in New York. He wanted children to become "more thoughtful, more reflective, more considerate and more reasonable individuals".

P4C is built on four foundations:

What is a Community of Inquiry?

A community of inquiry is the group in which a P4C session takes place. It is a group in which the individuals feel valued by each other and where they feel safe to express their views and share their experiences. In most schools the whole class will form the community of inquiry, but it can also work with smaller groups.

What is 4Cs Thinking?

Four types of thinking are central to P4C's values and practice:

Caring thinking: this is about respect for others in the community of inquiry and respect for the subject of the inquiry.

Collaborative thinking: this is about helping the community as a whole to progress by building on each other's ideas.

Critical thinking: this is about questioning and reasoning well, and seeking understanding.

Creative thinking: this involves making connections and suggesting ideas.

What is Philosophical Questioning?

Philosophy is often defined as the love of wisdom. It seeks to explore questions and find meaning about issues which our central to our lives: issues such as truth, identity, virtue, knowledge, beauty and existence. P4C encourages students to create their own questions on topics such as these.

Examples of philosophical questions in P4C inquiries might be:

Does everyone have a right to a good education?

Can animals create art?

Would it ever be right to tell a friend a lie?

Does it matter what I look like?

Is there truth in dreams?

Do things have to be equal to be fair?

What is the 4 Phase Inquiry Method?

The standard P4C inquiry model consists of four phases. Teachers and pupils need to familiarise themselves with this model, as each phase contributes importantly to the value of the inquiry. Once the community is conversant with the standard model, teachers can vary it to suit particular learning goals.

Training and support

Through our training programmes, DialogueWorks will give you all the practical advice you need to start facilitating P4C inquiries with your students. Over time, we will help you build your P4C facilitation skills so that your students, and you, can get the most out of your inquiries. We will show you how you can use P4C Plus as the basis for incorporating Philosophical Teaching into all your lessons.

Contact

bobhouse@dialogueworks.co.uk for more information.

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What is P4C? P4C is an approach to teaching and learning based on philosophical inquiry. It shows teachers how to teach through dialogue, facilitate student-led inquiries and get to know the students better. P4C shows students how to think independently, reason effectively, communicate persuasively and explore their values.

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https://ibpublishing.ibo.org/prl/?lang=en

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For session 1

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For Session 4

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leave your questions, session feedback and reflections here.

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For session 3

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https://www.sfmoma.org/artwork/98.298#view-artwork

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Description of stimulus

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Session 6 - In reference to Blau, Sheridan

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For Session 10

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Please share your 3 texts from the Marketplace.

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https://www.nytimes.com/column/learning-whats-going-on-in-this-picture

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https://www.sfmoma.org/artwork/98.298#view-artwork

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2

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Student sample

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For session 2

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https://www.thisisinsider.com/disney-princess-jobs-2018-5?fbclid=IwAR3dssf8F-bOeWF7RNeh3I6DxiRY6W1IG2TXzgFPneohSXPjhUnX-ZB2H9o

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https://ibpublishing.ibo.org/prl/?lang=en

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For Session 3

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For session 3

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Sample B Feedbackl

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For Session 6

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For Session 8

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Session 6 - In reference to Blau, Sheridan

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For Session 10

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Re

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Adapted from Harvard's Project Zero Thinking Routines

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Resource Summary

A routine for organizing one's understanding of a topic through concept mapping

Select a topic, concept, or issue for which you want to map your understanding.

Generate a list of ideas and initial thoughts that come to mind when you think about this particular topic/issue.

Sort your ideas according to how central or tangential they are. Place central ideas near the center and more tangential ideas toward the outside of the page.

Connect your ideas by drawing connecting lines between the ideas that have something in common. Explain and write in a short sentence how the ideas are connected.

Elaborate on any of the ideas/thoughts you have written so far by adding new ideas that expand, extend, or add to your initial ideas.

Continue generating, connecting, and elaborating new ideas until you feel you have a good representation of your understanding.

Purpose: What kind of thinking does this routine encourage?

This routine activates prior knowledge and helps to generate ideas about a topic. It also facilitates making connections among ideas. Concept maps help to uncover students' mental models of a topic in a non-linear way.

Application: When and where can I use it?

This routine can be useful as a pre-assessment before the beginning of a unit of study if students already have a lot of background information about the topic. Conversely, it can also be useful as a post or ongoing assessment to see what students are remembering and how they are connecting ideas. Individual maps can be used as the basis for construction of a whole classroom map. Maps can also be done progressively, with students adding to their maps each week of the unit.

Launch: What are some tips for starting and using this routine?

Depending on how much familiarity students have with concept maps, you may need to demonstrate making a concept map using this routine with the whole class. However, if students are relatively familiar with the idea of concept maps, you can launch right into the routine explaining that students will be making concept maps but in a structured way. Give time for students to complete each step of the routine before moving on to the next step. It isn't necessary that students generate an exhaustive list of all their ideas initially, but make sure they have time to generate a rich and varied list before moving on. Tell students that at any point they can add new ideas to their list and incorporate them into their map. If you are adding to a map over time, you might want to have students use a different color pencil each time they make additions. Explaining and discussing maps with partners helps students to consolidate their thinking and gain other perspectives.

Already use this Thinking Routine?

We want to hear about it. Post examples of your work on Twitter using the hashtag #PZThinkingRoutines and be sure to tag @ProjectZeroHGSE.

Projects

Related Project Resources

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Generate, Sort, Connect, Elaborate: Concept Maps

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Select a topic, concept, or issue for which you want to map your understanding. Generate a list of ideas and initial thoughts that come to mind when you think about this particular topic/issue. Sort your ideas according to how central or tangential they are.

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Self-Management assignment is to 'Get a Good Night's Sleep'. Students will be required to research how best to do this. They will reflect upon the things that are preventing them sleeping or resting effectively, and plan to rectify this. They will be looking at their wellbeing (emotional, physical etc.) as something they have some control over and planning accordingly.

Discipline specific: give them poems about sleep and rest.

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Group 3 thinking skills Alison, Kate, Leah                  Appreciating a Poem with extended metaphor                Fire and Ice by Robert FrostSome say the world will end in fire,Some say in ice.From what I’ve tasted of desireI hold with those who favor fire.But if it had to perish twice,I think I know enough of hateTo say that for destruction iceIs also greatAnd would suffice.Activity:Get them to read the poemlet learners give literal meaning to the poem; what they think it means To further extend/help with understanding - what do we associate with these things/connotations found in the poem e.g., fire/ice – what connotations do they have of fire and ice. Discussion on associations of fire and ice.What is he saying about hate and desire and how can they be linked to the human experienceTo extend meaning and interpretation provide guiding questions for deeper/further/reflective understanding To students: What are the questions you would pose/ask to get deeper meaning and understanding

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Group 3 thinking skills Alison, Kate, Leah                  Appreciating a Poem with extended metaphor                Fire and Ice by Robert FrostSome say the world will end in fire,Some say in ice.From what I’ve tasted of desireI hold with those who favor fire.But if it had to perish twice,I think I know enough of hateTo say that for destruction iceIs also greatAnd would suffice.Activity:Get them to read the poemlet learners give literal meaning to the poem; what they think it means To further extend/help with understanding - what do we associate with these things/connotations found in the poem e.g., fire/ice – what connotations do they have of fire and ice. Discussion on associations of fire and ice.What is he saying about hate and desire and how can they be linked to the human experienceTo extend meaning and interpretation provide guiding questions for deeper/further/reflective understanding To students: What are the questions you would pose/ask to get deeper meaning and understanding

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Group 1: Communication Skills (Peter, Chris, Joe)

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Group 1: Communication Skills (Peter, Chris, Joe)

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Learning Objective #7: Communicate and Collaborate in a Confident and Creative Way

"No Durians" - Modes of Discourse Activity

- Supports learning of the "rhetorical triangle", or relationship between audience, rhetor (speaker), text, and the purpose.

Asks students to convey the message - that durians are not allowed - using a different tone and features for the text (see 'no durians' image below).

Student groups would alter the text with the instructions of making the text more congenial, gracious, formal, laudatory, etc., by changing the image or including new words.

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Group 2 (social skills) activity (Dolly, Monique, Jess):

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Group 2 (social skills) activity (Dolly, Monique, Jess):

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Peer editing redesign, with a focus on social skills
Students, in groups of three, will define the peer editing parameters based on appropriate give and take, mutual respect, developing relationships, deliberate collaboration, and other social skills. They'll present their redefined peer editing model to the other groups, then revise, possibly incorporating some of the other groups' ideas.

These models will be put to use with an actual rough draft editing session in the following class, followed by a reflection in which students self-assess in terms of the social skills they applied, and the usefulness of the peer interactions.

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If you're struggling to make sense of the stamp image and how it could serve to interrupt or extend meaning of the extract, consider this multi-modal text.

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Scholastic Inc. is pulling a children's book about George Washington and his slaves amid criticism that the book makes light of the plight of slaves in America.

A Birthday Cake for George Washington, by Ramin Ganeshram, was released on Jan. 5 and tells the story of Washington's "head chef," a slave named Hercules, and his daughter, Delia. The book's upbeat illustrations and general story line have been slammed by critics, parents and educators as offering a sugarcoated view of slavery in America.

In response to the backlash, Scholastic announced Sunday it will no longer distribute the book and will accept all returns.

"While we have great respect for the integrity and scholarship of the author, illustrator, and editor, we believe that, without more historical background on the evils of slavery than this book for younger children can provide, the book may give a false impression of the reality of the lives of slaves and therefore should be withdrawn," Scholastic said in a Jan. 17 statement.

On Amazon, the book has received over 100 one-star ratings and numerous complaints from "furious" parents.

"Oh, how George Washington loves his cake! And, oh, how he depends on Hercules, his head chef, to make it for him," a description of the book says on Amazon. "Hercules, a slave, takes great pride in baking the president's cake. But this year there is one problem - they are out of sugar."

The book offers "a troubling depiction of American slavery," Kiera Parrott of the School Library Journal said in a review.

"(The) colorful, cartoon-style double-page illustrations, combined with the light tone of the text, convey a feeling of joyfulness that contrasts starkly with the reality of slave life," Parrott wrote in a review.

On Jan. 15, Scholastic acknowledged the criticism and said the book generated an "important discussion about the depiction of slavery in children's books."

Ganeshram wrote in a blog post that the story was based on years of research and depicted the "story of a real American - Hercules, George Washington's enslaved chef."

According to Ganeshram, the story sheds light on the "complex and varied nature of enslaved existence," which includes "enslaved people who had a better quality of life than others and 'close' relationships with those who enslaved them."

"Yet the discussion and criticism of the book has, instead, been focused on the literal face value of the characters," she said. "How could they smile? How could they be anything but unrelentingly miserable? The answers to those questions are complex because human nature is complex."

Ganeshram and illustrator Vanessa Brantley-Newton included historical context about slavery and Hercules' eventual escape in the notes section of the book, but critics said the information should have been included in the main narrative, AP reported.

Shortly after the book was published, Scholastic editor Andrea Davis Pinkney wrote in a blog post that the book "presents an important slice of American history".

"On several occasions, the book comments on slavery, acknowledges it, and offers children and adults who will be sharing the book 'a way in' as they speak to these issues," Pinkney wrote.
Follow @MaryBowerman on Twitter.

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Scholastic pulls controversial George Washington slave book

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Scholastic Inc. is pulling a children's book about George Washington and his slaves amid criticism that the book makes light of the plight of slaves in America. A Birthday Cake for George Washington, by Ramin Ganeshram, was released on Jan. 5 and tells the story of Washington's "head chef," a slave named Hercules, and his daughter, Delia.

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Socratic Preparation, interaction and reflection 

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Socratic Preparation, interaction and reflection 

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Students prepare a close analysis of a short text, including generating lingering thoughts, questions and epiphanies. Students engage in a Socratic Seminar, jotting down new ideas when in the outer circle, focusing more on participation when in inner circle.  Students revise their written analysis for homework or during the next class, demonstrating how their thinking changed as a result of the discussion. This activity gives students standard close reading practice of a text, but also helps them develop their listening and critical thinking skills during the Socratic Seminar. By synthesizing their thinking afterwards, their are learning how to be open to revising their thinking based on new understandings, successive readings, etc. This activity hits all three skills.

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Receptive Skills: "Saying, Doing, Being"

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Receptive Skills: "Saying, Doing, Being"

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Thinking Routines for texts:
"Language is a way of saying, doing, being." - Gee
Upon reading a text, students ask what the author is saying (literal), what they're doing (purpose & audience), and based on those aspects, who the author is being.

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Students listen to audio files, and then discuss in samll groups to analyze and compare understanding and interpretation.

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Receptive skills: Students curate a gallery of texts on a particular topic. Each text has to be of a different type, and they will then give a guided tour of their collection, drawing attention to the different ways each text addresses the topic.

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I like using collaborative writing to focus on these skills. I like the fact that students can work and compose together on a shared document in order to write a better paragraph, introduction etc. It also allows me to project and critique the writing and organization on the spot in front of the class.

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Presenting entertainment media texts (with a focus on productive skills):

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Presenting entertainment media texts (with a focus on productive skills):

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Last year, in a unit on representations of race in the media, students sought their own examples of the presentation of race/ethnicity in entertainment texts (television, film, YouTube). They presented brief (30 second to 1 minute) video excerpts of unconventional OR stereotyped representations, then explained to the class a) what their clips highlighted about race; b) how these points might be received by different audiences; and c) what potential effects (positive or negative) the mass distribution of such texts could have.

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This is a way for students to practise honing in on language for close textual analysis.
'4-tier analysis'
1. The writer says [long quote]
2. This shows...
3. Additionally, the word(s) [short quote] suggest....
4. Perhaps the writer is saying....

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Present students with audio visual texts and in groups, they should discuss what they have observed and develop reaction to the stimuli. 10 min. Once they are done, they can write a speech on one of the topics covered in the stimuli. 10 min and share with the rest of the class. In the next lesson, we can develop or refine their reactions and speeches using structure, etc.

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Receptive skills: Mindmap

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This idea is based on the Writers' Workshop Model (from Teachers College).

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3 stages of reading (collaborative, with an informal presentation at the end)

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3 stages of reading (collaborative, with an informal presentation at the end)

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-       3 stages of reading (general feeling and holistic understanding; analysis and evaluation; Knowledge and interpretation), adapted from Anna Androulaki.

o   Complete 1st stage independently, writing down the basic meaning and observations on the text, which can be literary or non-literary (productive skills)

o   Stage 2: move into (randomly chosen) groups (so that all members of the group are reading the same text) to share their ideas from stage 1 (interactive skills and productive skills). Then, they work together to choose a ‘key aspect’ of the text to focus on. One person from the group takes notes, synthesizing the ideas of the group (productive skills)

o   Stage 3: students strive to articulate a central analytical question around which to organize a commentary of this text (productive skills). Then, they strive to develop an outline for this commentary collaboratively. After developing this outline, the students should write a revised, simplified version of it (to display to the class)

-       Afterwards, each group presents their commentary (showing their finished, revised outline as a visual aid) (productive skills) and prepare to answer other students’ questions (interactive skills)

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What do we mean by a Non-Literary Body of work?

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What do we mean by a Non-Literary Body of work?

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From the IA section of the guide:

If the extract is a complete non-literary text, students should discuss relevant aspects of the broader body of work of the author of the text. In the case of a photograph, for example, the broader discussion should refer to other photographs by the same photographer. If identifying the single author of a non-literary text is not possible, students should use an ampler definition of authorship to broaden their discussion of the global issue. In the case of an advertisement, for example, students could refer to the other advertisements or commercials belonging to the same campaign, to other campaigns of the same brand or to other work produced by the advertising agency. In the case of an article, students could refer either to other articles by the same author or to the general editorial line of the medium in which the article was published. In cases such as the latter two, students should make explicit what constitutes their definition of authorship.

To me this means that we are no longer necessarily grouping non-literary texts by topics as we do now with Parts 1 and Parts 2, but rather aiming to explore a number of Non-lit "works" (15-20 shorter texts e.g. music videos by the same artist, or advertisements for Carl's Jr. let's say...OR 5-10 slightly longer texts e.g. hour long episodes of a TV series, or a series of op-ed articles by the same author)

This is certainly NOT to say that you shouldn't study single texts within a unit (it's excellent and vital practice for the art of experiencing unseen texts and engaging with a wide array of text types for the P1), but merely to say that if a student chose one of those single texts for their IO or Paper 2 THEY would need to do some personal extension reading to find out how those singular texts fit into a larger body of work (not for example, a collection of protests songs from DIFFERENT writers, but maybe an album by the same author.)

This is a notable distinction of the new course.

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Sample Unit Plans, Course Structures, additional Guidance for the Pos

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The Danger of a Single Story (extract)  https://www.ted.com/talks/chimamanda_adichie_the_danger_of_a_single_story#t-495895 & Danez Smith's Poem Dinosaurs in the Hood
https://www.poetryfoundation.org/poetrymagazine/poems/57585/dinosaurs-in-the-hood

GI Connection: The power of prejudice in representation of "the other"

My IO will Explore how both authors expose the disparity in of fair representation in the media, a state which limits the aspirations of those who are not in power, and disproportionately positions those who are in power toward obliviousness of the complex humanity and endless potential of those who lack a voice in the global narrative.

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Catalina Martin-Chico, from the World Press Photo contest 2019: https://www.worldpressphoto.org/collection/photo/2019/37682/1/Catalina-Martin-Chico-(1)

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https://aisgzorg-my.sharepoint.com/:w:/g/personal/kdean_aisgz_org/EbI8byKs3yhDuBNQ2GMlt24B70mCwfZssiR0DsF-7mUYIg?e=bN2a3g

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non-literary text: p. 891 from the essay 'Silent Spring'; literary text: 'The Human Bee' by Carol Ann Duffy (https://www.theguardian.com/books/2019/apr/27/into-thin-air-carol-ann-duffy-presents-poems-about-our-vanishing-insect-world?CMP=twt_books_b-gdnbooks )

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Time and Space
beliefs / values / education

"Why society nurtures expectations of beauty for men."

Poem: "Youth's Progress"
Advert: L'Occitane (featuring Luhan)

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Global Issue:

Global Warming

Area of exploration:

Readers&Writers&Texts

Native American poem

When the blood in your veins returns to the sea,

and the earth in your bones returns to the ground,

perhaps you will remember that this land doesn't belong to you,

it's you who belong to this land….

Video:

https://www.youtube.com/results?search_query=man+vs+earth

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Using two texts in one: Music Video + Lyrics

https://www.youtube.com/watch?v=VYOjWnS4cMY

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The teacher support material on the PRC has some examples of these that you can peruse. If you have trouble with the links, send a message to the Helpdesk.  Hopefully the kinks will be worked out soon.

Apart from this, I will be writing my unit plans before the end of the school year and will share them in the WeChat group.  Perhaps we could all do this and cross-pollinate ideas for structuring the course, and also potential lit choices.

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Something that is a bit of a departure from the model of the current course is the (albeit vague) distinction between Lit and Non-Lit texts versus Literature choices for Parts 3-4 and "Language Texts" which could include literature works.

In the current model a student could address a single ad or a collection of ads for beer without necessarily looking at a whole campaign, or a series of ads from the same company over a range of eras.

You certainly CAN continue to teach one-off non-lit texts in this way, and this would indeed be good practice for a Paper 1 scenario, but when it comes to the HL essay, the IO and Paper 2 the students will need to place these singular texts within a collection of some sort.

There is no guidance (as of yet) on how these kinds of "works" will be defined, Will it be 12-20 ads like we define a work as a collection of poems?  Or will they be treated like short stories?  Would 3 episodes of a TV show be sufficient or do we need a whole season?  How many minutes of film equals a substantial "work"? I suggest we all pepper the IBO Community page with these questions. the more we ask the more likely they are to publish some kind of an update to the new guide with further clarification before the course begins.

In the meantime, take advantage of the ambiguity and use your own professional judgement. I am thinking of Tweets and Instagram photos as a collection of Haikus or Tanka Poetry (maybe 30-40 equalling a complete work), Adverts and political cartoons like longer poems (15-20 =. body of work) and Music Videos, shorts, and Newspaper articles/front pages as short stories 8-10 = a body of work) where as a TV episode of 40-60 minutes would equal a novella (3-5) and a documentary or feature film would equal a complete work on its own.

But that's NOT from the guide, or official news from IB. That's just what I will use until the IB comes out with a further clarification. What will you do? I'm interested to hear your thoughts.

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How much does argument overlap with Criteria C versus Criteria A?

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How much does argument overlap with Criteria C versus Criteria A?

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The truth is an argument that is incoherent isn't SUPPOSED to be penalized in two criteria, but if your argument isn't well DEVELOPED it will be, and how much of that is perhaps even down to weaknesses in fluency is another question to add into the mix.

It seems that Criteria C (whether in paper 2 or Paper 1 or the IO or the essay) is very much about developing ideas with arguable points (instead of narrative summary or linear observations of plot development), evidence from the text, evaluation (I use this word instead of explanation to highlight the students' need to explain how the detail they have given adds VALUE to the text and it's meaning) of the effects of this quote/detail, and finally an ability to express how this effect NEW adds meaning to their interpretation.

One bit of advice I have given my students that seems to be working well is that at the beginning of a body paragraph/point they should start with vocabulary such as "show" "demonstrate" "convey" "highlight" etc in the evaluation sentences their words should show a growing understanding with words like "Belie" "Probe" "expose" "clarify",  but that by the end of the paragraph they should be using verbs that express their new understanding  and the conclusions/implication of what this demonstration's purpose was: "condemn", "denigrate" "lay bare" "laud" "appeal to" "plead with our better nature"

This helps them to develop their argument and evade the redundancy of the Key Hole essay structure they have likely been learning in their SAT classes or may have picked up in Middle school. They have to unlearn the habits of canned essays to some degree.

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How much does argument overlap with Criteria C versus Criteria A

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How much does argument overlap with Criteria C versus Criteria A

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These can take any form. Digital, Paper, mixed media...they could be an enormous black sketch book or a lined notebook...the only thing you want to make sure of is that A) YOU have access to it and can add comments and feedback and guiding questions. B) Students have the ability to record and preserve their learning journey as they go and will be able to give you the final copy at the end of the course to hold onto should the IB request it.

Other than that it is entirely up to your school and the students.

I am thinking of giving students two options: Either entirely paper based and generally stored in the classroom, which will be scanned for soft copy back up on a monthly basis, or mixed electronic and paper based, with the paper notebook being the space for my comments and their reflections and goal setting, scanned and added to their wiki space on a monthly basis.

The reason for this is our school's assessment policy which requires our feedback to be accessible to the SLT, PSG and Visiting School Board members whenever they like.  This sort of transparency is not possible in an 100% digital format.

If your school is tech savvy and tech enthusiasts, I would suggest online options for those who have the resources/inclination as this could be a wonderful portfolio to submit with university applications, especially for their pursuing a Liberal Arts educations.

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Here is the slide with all the tools we used.  many of these can be found at: https://dialogueworks.co.uk

Or: http://www.pz.harvard.edu/resources/visible-thinking-tools

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Well...I had hoped this workshop would be a model for this, but maybe I should have been more explicit.

The truth is this subject is at its core inquiry based. The students are asking questions and we are developing their skills for curiosity and conceptual understanding all the time. If you are getting students from a myriad of contexts and are unable to scaffold this down lower to middle school in your system, then I suggest you begin year 1 with a frank discussion on autonomy, self-control, and the need to be an engaged learner. It IS a shift in mindset, but it is also one they are going to have to embrace across the curriculum, not just in our subject. Geography brought in conceptual approaches last year, Maths is bringing it in this year (reducing content and increasing conceptual inquiry and analysis), and within three more years sciences, TOK, all the arts, and humanities will have shifted into the inquiry model.

Equipping students with information is not the same as equipping them with the skills to produce knowledge, and it is the latter they will need going forward in a world where 90% of the jobs college graduates will be hired for don't even exist yet. Being curious problem solvers, who can think critically  and creatively, and work in thoughtful collaboration with others, is much more likely to get them hired than a perfect score on the SAT, or (and I know this is incendiary for most of our students) for that matter a college degree at all.

This is the conversation I would be having with those students reluctant to engage, but I am equally confident that if YOU embrace the paradigm of inquiry as a method for sparking curiosity in your students, they won't need much convincing. It's So much more fun than listening to a sage on the stage waffle on about something she's passionate about but which has no meaningful bearing on their world as far as they can see.

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Here is some guidance from the TSM document:

Discussion and questioning guidelines:

After the student has completed the 10 minute delivery of their individual oral, the teacher is expected to

engage in a five minute discussion with the student. This discussion will give the student the opportunity to expand on particular statements made during the oral.

Teachers must use this discussion time to give students the opportunity to improve (or expand upon) unclear or under-developed statements made during their delivery. This could be done by asking them questions that allow them to:

• comment further on parts of the extracts that are relevant to the global issue chosen and how

meaning is shaped in them

• expand on the presence or importance of the global issue in the overall text, work or body of work the extract belongs in.

If these aspects have been satisfactorily covered by the students in the oral delivery, teachers could prompt

students to:

• comment on and evaluate the similarities and differences between the ways the global issue was dealt with in both works and/or texts. This is not specifically assessed in this component, but it could give students a chance of exploring the global issue further in each work and/or text from a new

perspective.

• discuss how their work in the learner portfolio helped them to prepare for the individual oral, and how it helped in choosing their global issue, texts/works and extracts.

and later in the conduct section...

In the final question time for the individual oral, teachers should refrain from asking questions that

lead students away from the details of the works/texts and global issue at hand. The purpose of

questions should be to help the student demonstrate their knowledge and understanding of the

extracts’ content and of how meaning is constructed in relation to the global issue.

I hope this helps. :)

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Last but not least ...What some good choices of texts for beginner DP teachers?

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Last but not least ...What some good choices of texts for beginner DP teachers?

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Well, I hope you got LOTS of good suggestions this weekend, but here are a few of my favorite quick reads for the L&L class:

Lit:
The House on Mango Street -- Cisneros
The Zoo Story - Edward Albee
Bayou Folk -- Kate Chopin
The Thing Around Your Neck -- Adichie
Collected Essays by Mark Twain
Madame to You a collection of narrative poems by Langston Hughes
Morning in the Burning House (collected poems by Margaret Atwood)
A View from the Bridge or The Crucible -- Arthur Miller
Oranges are not the only fruit by Jeanette Winterson
Wide Sargasso Sea - Jean Rhys
A Raisin in the Sun - Hansberry
Master Harold and the Boys -- Fugard
Collected Short stories by Alex Laguma

For works in Translation I really like: Haruki Murakami's The Strange Library (an illustrated novella) and Kafka on the shore (not short, but very interesting)
A Doll's House - Ibsen
Persepolis - Marjane Satrapi
Day Tripper -- Gabriel Ba
Like Water For Chocolate Laura Esquivel
Three Body Problem - Liu Cixin
Kitchen - Banana Yoshimoto
Camus- The Outsider
Metamorphosis - Kafka
Waiting for Godot - Beckett (originally written in French and then HE translated it so it has historically been counted as a work in translation OR an originally English work)
The Unbearable Lightness of Being - Kundera
Short Stories by Augusto Monterosso (notorious for his one sentence short story ""When he awoke, the dinosaur was still there.")

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Social Media accounts worthy of following

@Lord_Voldemort7

@ShitGirlsSay

@someecards

@Oatmeal

@sosadtoday

@medievalreacts

@Chuck_facts

@edgar_Allan_Poe

@SimoneGiertz

@SarcasticRover

@IFLScience

http://instagram.com/humansofny

https://www.rollingstone.com/interactive/features-the-100-best-instagram-accounts/

https://www.cosmopolitan.com/lifestyle/a31242/16-inspiring-instagram-accounts-to-follow/

https://www.facebook.com/MANWHOHASITALL

https://www.facebook.com/agirlsguidetotakingovertheworld

Podcasts & blogs:

https://www.theverge.com/2018/12/19/18106662/best-podcasts-2018-npr-slate-serial

https://whatsyourgrief.com/grief-podcast/

http://laceonrace.com

https://www.inc.com/magazine/20091101/19-blogs-you-should-bookmark-right-now.html

https://www.onlineuniversities.com/blog/2009/05/100-awesome-blogs-by-some-of-the-worlds-smartest-people/

http://www.lamebook.com

Visual Albums:

https://beat.media/evolution-of-visual-albums

http://www.bbcamerica.com/anglophenia/2016/04/the-rise-of-the-visual-album-how-lemonade-stacks-up

Ad Campaigns:

Heineken

Carl's Jr.

Diesel

Love's Baby Soft

Dove Real Beauty

Body Shop

Gucci

Burger King

Uncle Ben's

Clavin Klein

Marlboro

Newport

Camel

Virginia Slims

Absolut

Marshall's

Documentaries:

Killing us Softly

Miss Representation

The Mask You Live In

Weapons of Mass Deception

Consuming Kids

Mickey Mouse Monopoly

The Greatest Movie Ever Sold

You Tube Channels

https://mashable.com/2013/04/04/youtube-education/

http://www.papermag.com/amy-sedariss-youtube-channel-is-very-necessary-1425713554.html

https://neoreach.com/top-most-subscribed-youtube-channels-january-2019/

http://www.johngreenbooks.com/youtube/

TV series I have contemplated using are:
The Handmaid's Tale
Dear White People
Russian Doll
13 Reasons why
Modern Family
Blackish
Fresh Off the Boat
The Nash Report
The Daily Show
Full Frontal
Fox and Friends

Hopefully these will get you started.

:)

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I'd love to hear some constructive criticism on this course outline. Please bear in mind: I will be in teaching in Bahrain, so sex, alcohol and lots of other fun things are verboten!