# data[].attributes.headline
Tapasā - collaborative and respectful relationships

# data[].attributes.subject
Tapasā - collaborative and respectful relationships

# data[].attributes.body
This could be engaging with Pacific learners families by building respectful relationships to co-teach a lesson on how bark cloth (tapa) is made.

# data[].attributes.body
Open class discussions around artworks can show students that there is no ‘wrong way of seeing things’ but that all individual views and interpretations are valuable and valued. Being validated by others noticing the same things will improve students’ confidence. If students have differing views to the majority it is also encouraging for them to see that they are just as ‘right’ as long as they can explain why they came to a certain conclusion.

# data[].attributes.body
It would be great to encourage collaboration with learners, parents, families and communities in terms of subject matter and themes that are incorporated throughout the school year. A wananga or survey at the end of the year could be taken into account when planning units for the following year so that learners and their communities take ownership of the learning which is catered to their needs and interests.

# data[].attributes.body
in a similar veins to above, having a reading that the class does about a an artwork or looking at collection of artworks and having discussions about what they see and how they interpret it.

Hopefully what comes from this is different viewpoints coming out about how they feel about the works or the reading and discussions around all the interpretations

# data[].attributes.body
Designing a unit that lets the students explore their own interests and heritage, and putting them into groups so that they all learn from each other. This will promote dialog between students and if done right each student should feel like they have contributed to the task.

# data[].attributes.body
Open class 'no hands up' discussions, gently guided but not overpowered by the teacher. Think/share/pair for sharing ideas in non-threatening environment. Group work to encourage learning from each other. Also music dialogue, such as question/answer rhythmic or melodic phrases.

# data[].attributes.body
Inviting cultural minorities to share examples of 'their' music. Horizontal learning, leading to students feeling valued for their pre-existing knowledge. Collaborative group project work. There are also numerous opportunities for cross-curricular collaborations within Music.

# data[].attributes.body
Taking every opportunity for the student voice to be heard. From opening up the class with some questions or having them make their own posters with information on their favourite artists.

There is a lot of opportunity as well to do some think pair share with some music they hear and describing so they can gain more vocabulary. Music Vocabulary is a whole other language and if you can get students to discuss about it then they will have a higher chance of remembering it.

# data[].attributes.body
Opening up for regular concerts and performances of students works for communities, whanau and friends of the students should be a regular thing. Encouraging the students in this area of performing in front of others will build professional relationships and professional behaviours as it gives opportunity of real world experiences.

# data[].attributes.body
BES emphasises pedagogical approaches that promote dialogue in the classroom. If I as a teacher can create a safe and supportive environment in which everyone’s voice is heard, then I will be able to encourage meaningful discussions between students and myself. I should incorporate methods that encourage dialogue and discussion into my drama teaching strategies and content. This could be developing skills with the class such as group improvisation, role-playing, and character analysis. Students should be encouraged to explore different perspectives and viewpoints through these exercises and activities. Students should feel comfortable to share ideas and express themselves in a supportive environment. When meeting the class for the first-time setting ground rules together maybe a way to start this safe and explorative environment. Dialogue in the drama classroom can promote critical thinking, empathy and understanding.

# data[].attributes.body
An important pedagogical approach of the New Zealand Curriculum (NZC) is connecting learning to previous experiences. As a teacher I should be able to connect new learning to students’ existing knowledge and experiences and encourage the student to build on what they already know. As a drama teacher I should be able to include content and strategies that build on students’ prior knowledge and experiences. For example, I may ask the students to talk about a certain topic, such as heartbreak or bullying. Difficult topics should be handled with extreme care, and this would not be a first lesson exercise. Going back to what I said in the BES approach the drama class needs to be a safe and respected environment so that students can explore and tackle difficult subject matters. Drama activities can help students express their feelings and experiences. Making connections with previous learning and experiences can help students have a better understanding of themselves and the world around them, while building upon their existing skills and knowledge. Connecting with the student’s prior knowledge and experiences can make the learning more meaningful. This can encourage students to take a more active role in their learning.

# data[].attributes.body
Tātaiako is a cultural competency framework that is designed to support Māori learners and promote culturally responsive teaching practices. One of the key principles of Tātaiako is Wānanga, which refers to the process of coming together to share knowledge and learn from each other. As a drama teacher I should create opportunities for students to learn collaboratively and to share their own experiences and knowledge. So in drama this could be a devised piece where the students create their own story using their own experiences. I could encourage traditional Māori storytelling and performance practices, such as haka or waiata (something I don’t really know too much about and would have to research). But by incorporating these practices into the drama class creates a more inclusive and culturally responsive learning environment, where students feel valued and supported. I think this approach would also foster a sense of community and belonging among the students and potentially play an active role in their own learning.

# data[].attributes.body
One of the key principles of Tapasā is the importance of collaborative and respectful relationships and professional behaviours. As a drama teacher I should take this principle into account when designing my lesson content so that students can collaborate respectively with their peers. The use of role playing, and improvisation has been my example for all the pedagogies because these exercises provide the perfect opportunity for students to work together to create and perform together. As well as fostering a sense of cultural identity and appreciation for cultural diversity among students, drama activities can also be used by teachers in order to help students explore and express their own cultural identities and values. It is important for drama teachers to create a collaborative and respectful learning environment that encourages Pacific learners to participate in their own learning and to feel a sense of belonging. It can also foster a culture of mutual respect and professionalism between teachers, students, and their families.

# data[].attributes.body
Making connections to prior learning is critical in music teaching. All ākonga will arrive into their classroom with highly variable formal and informal musical experience. Some may have been having private music lessons for years, others have sung a lot with whānau and/or in church, some may have never played music, but listened to a wide variety of genres and others still may have very limited practical and theoretical knowledge, but have a curiosity. Discovering this is integral to planning curriculum which allows all this knowledge, experience and curiosity to be valued without alienating ākonga with less experience/knowledge.

# data[].attributes.body
Promoting dialogue in a music class is critical.  Music is, by it's very nature, a social artform.  Even if it's composed by a lone individual, it is then shared for others to listen to.  And often, music is created or brought to life in groups for a social purpose.  Ākonga have so much to discuss in any art, as it's essentially subjective, so discussion allows the sharing of ideas and values, which creates deeper understanding and respect for everyone's mana.
Giving ākonga the confidence to discuss their interpretation of the elements of music through listening, as well as learning to listen to others opens up opportunities for respect and development of self esteem.
Ākonga often discuss music outside of the classroom, so kaiako simply need to harness and, at times, guide this discussion with relevant and new genres.

# data[].attributes.body
Wānanga is an overarching concept which asks of kaiako to consult with Māori whānau and communities regarding the education of their children. I imagine this to be somewhat of a challenge when building curriculum in secondary schools as ākonga often want to start establishing independence. Also, as pākehā, I am still practising my courage in this area. A place to start however would be with the ākonga themselves and opening a dialogue with them about what they hope to learn in the music discipline. I also feel that perhaps planning a unit around taonga puoro could be a good place to start and inviting local iwi/whānau to guide, contribute- or if relevant- lead topics, could encourage wānanga and also contribute to whakawhanaungatanga.

# data[].attributes.body
Collaborative and respectful relationships and professional relationships is Turu 2 from tapasā.  It makes me sad that this even needs to be acknowledged and shows it must have been or still be lacking.  I see it as consulting Pasifika whānau and wider communities and ensuring that I work WITH Pasifika ākonga as a team.  Essentially inviting them into a space (the classroom) where they can feel safe and supported in their cultural identity.  Similarly to what I'd written about Māori taonga puoro, I could invite Pasifika whānau to guide/lead/collaborate a unit on traditional instruments and hopefully open doors to further collaboration.
Professional behaviours seem obvious, but having occasionally overheard less than ideal conversations in staffrooms, this is an area where I hope to be a role model.  Some teachers seem to feel Tātaiako and Tapasā are simply about ticking government mandated boxes (if they've heard of them at all!) I am firmly opposed to this notion as I can, in my limited experience, already see the difference these principles can make when thoughtfully applied and I truly wish to continue to learn how to do this in my practice.

# data[].attributes.body
To teach for discussion, within drama establishing that the reflections and feedback that we give after a performance are just as important as the performance itself. Setting this as a class routine so that ākonga are aware that feedback is going to be given on their performance, as well as them giving feedback. It is important that you set a supportive classroom culture at the beginning with a new class, and demonstrate what language is used when giving feedback so they can replicate the behaviour.

# data[].attributes.body
At the beginning of every new topic, it is good to practise doing an activity for ākonga to share what they already know about the topic so that as a teacher I am able to assess what are the gaps and if there are any inappropriate assumptions. This then leads to teachable moments to build on top of their prior knowledge. This helps to ākonga to build connections to the topic from their experiences so they feel that they are not starting from scratch.

# data[].attributes.body
A way in which we can show wānaga within drama is through the theme of identity, this can encourage finding stories from whānau, talking with iwi and gathering stories based on the locations of the school. All about finding a connection between the ākonga, whānau and how they see themselves while encouraging discussion about their own beliefs, values and whakapapa. This then could lead to a showcase night with whānau invited to celebrate the hard work that ākonga have put into their own education.

# data[].attributes.body
Creating a collaborative environment within a drama classroom so that Pacific learners are able to freely express their identity and culture, can be done through the relationships that you build with whānau and have their input be reflected within the classroom. By reaching out to whānau early in the year, celebrating the mahi put in by the ākonga within your class and opening up the classroom so that families feel that they will be welcomed into the space and their culture respected.

# data[].attributes.body
I think it is possible to create a heightened interest and engagement in drama activities and performances when students are encouraged to ask questions about them. The arts should ignite curiosity. Curiosity about the subject and about oneself. To help students, gain a deeper understanding of the material, asking questions and allowing questions to be asked can help clarify concepts and the subject matter.

Not only does this promote a culture of inquiry, but also encourages to explore different aspects of drama further than the teacher may have prepared for, making students active learners.

A collaborative learning environment is created when students actively share their perspectives and ideas. As a result of promoting dialogue, students can engage in meaningful discussions, exchange feedback, and learn from one another.

As students learn to listen and respond respectfully to their peers, this collaborative approach fosters critical thinking, communication skills, and empathy.

# data[].attributes.body
By integrating local and cultural contexts in drama activities, we as teachers provide students the opportunity to connect with their immediate surroundings and cultural heritage. If I was a bit more organised during practicum, I wish I had researched in depth the cultural history of the school, it was only the last week when I realised what the school crest was. When asking the teachers what its meaning was no one could tell me. The other thing I wish I knew was what the students were working on in other classes – Like in English if they were working on a particular text maybe incorporating that into the lesson so you could link the two subjects together. Does that count towards making connections to prior learning – I feel like I’ve gone rogue now.

# data[].attributes.body
Introducing Māori stories known as purakau into the drama room can provide a rich source of knowledge as well as give students a deeper understanding of Māori history. These stories can provide different perspectives as well as cultural and moral lesson that can be explored through dramatic interpretation. By engaging with Māori stories, students and teachers can gain insight into different worldview, broaden cultural perspectives and foster empathy.

# data[].attributes.headline
Collective and Respectful relationships and professional behaviours:

# data[].attributes.subject
Collective and Respectful relationships and professional behaviours:

# data[].attributes.body
I think from a drama teacher perspective it is important to set the expectations from the start of how you want your class to run. The drama room or dance room is often a different kind of setting compared to the traditional set behind a desk while the teacher teaches. So, it is imperative that respect and trust is established.  Incorporate tikanga Māori from the start, provide opportunities for students to gain trust.

I think the drama room should be a place to foster creativity without judgement from peers or fear of getting something wrong. So, building teamwork where there is mutual support is key here.

# data[].attributes.body
One way we can show Wānanga in the visual arts is by promoting student identity and cultural identity. Like said above, it can be done in ways were stories and experiences of whānau, ākonga and community are used to promote finding a connection with the students. A way to do this in visarts could be utilising patterns from culture into their work (such as a kowhaiwhai they are familiar with or resonate with.)

# data[].attributes.body
Promoting dialogue in visual arts is critical - between teacher and student as well as inter-student. It is critical as it is how a lot of the development is created for future use. Being able to hold group discussions and 1-to-1 conversations that cover the techniques, contexts and concepts within a work are important when learning how to both talk about your work and to understand beneath the surface level. By giving students the ability and confidence to discuss their ideas with others can help engage ākonga in conversation that develop their artistic awareness. the kaiako can assist by asking questions like "why do you think...?" "how does that impact...?" etc to provoke inquiry

# data[].attributes.body
To promote dialogue in the classroom you need to facilitate a safe, supportive environment for everyone to be heard and feel comfortable to share. This fosters critical , communication skills where akonga can develop their artistic awareness, concepts and technical skills in Visual Art

# data[].attributes.headline
Making connections to prior learning and experiences

# data[].attributes.subject
Making connections to prior learning and experiences

# data[].attributes.body
The ability to connect to akongas previous learning the more we can help them build on new learning. The more we help akonga engage in prior understanding the more likely they are to learn well. You facilitate engagement and help akonga by group discussion and brainstorming .

# data[].attributes.body
The competencies of Wananga are about knowing respecting and working with Maori learners whanau, promoting  culturally responsive teaching practices.
We participate in integrity, sincerity and respect towards Maori beliefs language and culture . In visual art akonga can explore communicate their own artistic ideas through their identity, culture and heritage.

# data[].attributes.headline
collaborative and respectful relationships and professional behaviour 

# data[].attributes.subject
collaborative and respectful relationships and professional behaviour 

# data[].attributes.body
Tapasa is resource that guides kaiako to teaching practices and quality learning for Pacific learners. i have been involved in starting up an Art Textile programme where akonga design and make their own lava lava. I am passionate about empowering my Pacifica students where identity and culture are at the heart of their learning

# data[].attributes.body
In order to promote open discussions in any class the teacher needs to set up a safe, inclusive space where akonga feel supported and respected. When this happens, dialogue can happen that is imperative to a students comprehension of subject content and vocabulary literacy. Students can then learn in a meaningful way that is relative to their interests and promotes independent thinking and metacognition at its best. By asking questions, joining in conversations and discussing relevant ideas with teachers and students, critical evaluation and reflective learning can happen. Asking open ended questions and ensuring the validation of students ideas can promote self-confidence and positive self esteem leading to even greater learning.

# data[].attributes.headline
Connection to prior learning & experiences

# data[].attributes.subject
Connection to prior learning & experiences

# data[].attributes.body
As an art teacher it is often relevant to be able to 'see' how a student responds to the task of drawing or painting. Non- confident students can be put at ease by the knowledge that nobody needs to be creating artwork that is perfect. By practicing the disciplines of art over time, knowledge and controlled application of materials will show greater physical and cognitive development. We can determine how much akonga already know by asking specific and open ended questions, such as whether or not they have done an activity before or how they believe they would achieve a certain style or application. Strategies can be applied in the classroom to scaffold learning from where the student first meets us. These can include relevant content that the student can understand and build on, as well as encouraging students not to compare or put themselves down.

# data[].attributes.body
The significance of the principle of wananga within the classroom sits in the Tataiako framework that encompasses maori perspectives for knowledge and learning.

Cultural competency in teaching ensures that all students are treated with respect and that the voices of maori students are heard. Communication in all forms is vital to process information effectively. Incorporating the use of te reo can be used and provided to maori students to help in sharing information. By ensuring all students are supported, then innovation can be made in visual arts. This will require collaboration and inclusivity as well as independent work. Critical thinking, questioning and discussing, can help with creative problem solving, enabling students to think for themselves and collectively, to determine new or greater outcomes.

# data[].attributes.body
The concept of a reciprocal relationship with akonga and their families is particularly relevant within the pacifica community. Art is disciplined in many pacific nations and the knowledge of these practical skills is invaluable. I would ask of any students that have family or friends within their cultural community to share that knowledge with the class. Alternatively, to ensure a broader range of learning within the class I would introduce various forms of Pacifica art to learn about in greater depth. The use of natural materials used for sculpting, decoration, housing and clothing can be applied and practised in different forms within the classroom and I would encourage any artisan with these particular skills to share them with the akonga.

# data[].attributes.body
A way I can demonstrate Wānanga in a dance class is to enageg students in collaborative choreographic processes where they can share their ideas and perspectives. This can promote the process of coming together to share ideas and learn from each other. Additionally, I can use a Māori theme or stories to guide their choreographic process. This can encourage students make deeper connections to the culture or share different perspectives and worldviews.

# data[].attributes.headline
Tapasā: Collaborative and respectful relationships and professional behaviours

# data[].attributes.subject
Tapasā: Collaborative and respectful relationships and professional behaviours

# data[].attributes.body
It is important to set clear protocols at the beginning of a class to emphasise respectful and professional behaviours. Other strategies I could use include creating a supportive and inclusive dance learning environment where students feel safe to take risks and express themselves. Another way to build bonds and collaboration within the community is to invite students' families with different cultural backgrounds to share their stories.

# data[].attributes.headline
Tapasā: Collaborative and respectful relationships and professional behaviours

# data[].attributes.subject
Tapasā: Collaborative and respectful relationships and professional behaviours

# data[].attributes.body
It is important to set clear protocols at the beginning of a class to emphasise respectful and professional behaviours. Other strategies I could use include creating a supportive and inclusive dance learning environment where students feel safe to take risks and express themselves. Another way to build bonds and collaboration within the community is to invite students' families with different cultural backgrounds to share their stories.

# data[].attributes.body
Promoting dialogue amongst ākonga within a dance class can include encouraging students to discuss and provide feedback, critically reflect and analyse, and appreciate each other’s dance works and experiences. Lesson content could focus on exploring cultural dance works, such as kapa haka, or the impact of using certain dance elements as choreographic choices, for example. Strategies can include group discussions after studio performances and presentations, as well as reflective writing activties.

# data[].attributes.headline
NZC: Making connections to prior learning and experience

# data[].attributes.subject
NZC: Making connections to prior learning and experience

# data[].attributes.body
It can be challenging to relate new dance concepts and skills to students who already have prior learning and experience in dance. This may be due to some ākonga having certain expectations in a dance class. As a dance teacher, I can incorporate movement motifs or themes that resonate with students' cultural backgrounds or personal experiences. The teaching content can incorporate traditional dance forms, music, or stories from students cultures, allowing them to make connections to their own experiences.

# data[].attributes.body
Coming togeather in a circle (sitting or standing) to have a group discussion. As said in a vein, enlisting in a 'no hands up' for this works well, as students can all see each other and bounce of eachothers feedback. Being on the same level as the students (Sitting in the circle with them) could make the students feel more comfy to engage with the dialouge and share their ideas.

# data[].attributes.body
Making connections and engaging with prior learning is an important part of Drama. For example, if in year 9 the students learnt about the art of miming, you could build upon their knowledge by introducing them to pantomiming. It is building on previous knowledge and teaching them a new skill. It's those little things of how does each lesson connect, and where have I seen these ideas in a previous lesson?

# data[].attributes.body
A drama classroom is a place that should be safe for all to express themselves creativly. Setting these expectations of respect in a junior classroom is crucial so, as they hopefully move through the years with drama, the idea of respect will be installed in them. Moreover, is a student joins drama in later years (senior) and doesn't know how respect is shown, the students who have followed drama through will hopefully be modelling what this looks like.

# data[].attributes.body
Promoting dialog in Visual Arts can look like group research activities, open class discussions, group critiques, and conversations about techniques, concepts, or contexts. Using these inclusive approaches will help build trust, acceptance, and support between peers, it can also raise levels of subject understanding and critical thinking, leading to enhanced learning experiences.

# data[].attributes.body
‘Everything new is interpreted in the light of what is already known’ (Prior learning and experience / Pedagogy / Health and physical education / Home - Senior Secondary. (n.d.). Seniorsecondary.tki.org.nz. https://seniorsecondary.tki.org.nz/Health-and-physical-education/Pedagogy/Prior-learning-and-experience), is a beautiful quote that summarises making connections to prior learning. New information must somehow be linked to existing knowledge for ākonga to understand and integrate it. In painting this could look like stacking lessons within a unit to build on previously learned skills and concepts. Simple exercises given at the beginning of the year or term could be an effective way to assess prior learning.

# data[].attributes.body
Wānanga in Visual Arts can be demonstrated through establishing engaging group activities where ākonga are encouraged to work collaboratively with peers, Kaiako, whanau, iwi, and the community. A good example of this in action could be creating a culturally responsive mural, this project could bring together people's diverse knowledge, skills, and resources. It would be a fantastic opportunity to demonstrate and create wānanga, a sense of community respect and inclusion for all people.

# data[].attributes.body
Focusing on Tapasā’s collaborative and respectful relationships and professional behaviours means validating Pacific ākonga and being respectful of them, their family, culture, and perspectives, demonstrated through positive engagement and inclusion of Pacific art practices. This can look like nurturing their voice and empowering them to be seen creatively. Collaborative projects to foster this could be researching traditional Pacific tattoo, painting, or mark making, and reflecting their findings back to the group for discussion.

# data[].attributes.body
This feels a little obvious but it suggests to me that discussion and questioning is really important in a music classroom. I know this from my own experience as a music student, but I also understand just how important it is for students to talk through their ideas as a way of working out their opinions, to organise their knowledge and make links between concepts and ideas. Discussion and dialogue is an important tool for students to share their ideas, especially in group work, so they can learn from each other and incorporate one anothers’ ideas into their own ‘bigger picture’ learning.

# data[].attributes.body
In music it is especially important that students are able to build on their prior learning and experience. Music is commonly learnt outside of the classroom and from a young age, so many students come in to Year 9 Music with lots of knowledge – it is important to figure out where everyone is at, and how best to expand upon what they already know. In saying that, even students who have never ‘done’ music before have prior knowledge in it – everyone has a favourite musician, or a favourite film with a score they really like, or a favourite radio station even. These musical experiences are also important as a starting place and can be used to build upon, especially through listening exercises.

# data[].attributes.body
Tātaiako describes Wānanga as ‘communication, problem solving, innovation’. Again, discussion is an important tool in the context of this pedagogy – through discussion, students learn not only identify problems, or perhaps things they don’t understand and want to know about, but they also get the opportunity and space to explore those things. In Music, so much of the subject is based around technical language so it is really important that students have even a basic vocabulary to help them express what they are hearing, feeling or are wanting to communicate.

# data[].attributes.body
This is an important pedagogy because following it will mean that everyone is culturally safe within the space of a music classroom. Music spaces need to be places where ākonga feel safe to be vulnerable and to be themselves, and where kaiako feel equipped to manage what might happen in that space as a result. If everyone is of the understanding that they need to take care of each other, but also understand and respect the boundaries that come with being at kura then everyone will have a good time.

# data[].attributes.body
In visual art,  promoting dialogue is a key aspect of learning how to describe, interrupt and evaluate  artwork and also the students own work. Setting up a  safe classroom culture where akonga feel comfortable to share their thoughts around a piece of artwork and also critique each other's work is important - learning how to give feedback to each other in a safe, constructive way. In a visual arts class, it is important for students to know that there is no right or wrong way to respond to an artwork, as we all read different things into work depending on our own cultural background and life experiences.

For strategies, getting students to think/pair/share can help gain confidence, and activities such as small group critiques (2-4 students)to help students gain confidence in their skills.

# data[].attributes.body
Effective questioning and making connections - With a group of new students at year 9, it can be difficult to know what their prior learning is from primary school, particularly in rural areas with small schools where they might not have had any primary school teachers with specialized visual arts knowledge. For example, if you are doing a unit on colour theory, some students may not know what primary colours are. I would start with questioning to find out what different students know, and those who do have some prior knowledge may feel comfortable enough to share it. If talking to the children about primary, secondary and tertiary colours, you could relate those words to ideas they already know such as levels in a game of first, second and third.

# data[].attributes.body
In terms of Tātaiako and Wānanga, building relationships with and involving the wider community who may have specific knowledge and skills relevant to the work akonga are doing in class is really important. For example, there may be a local practitioner of whakairo or raranga who can assist with appropriate ways to incorporate this work into the classroom, using correct tikanga.

# data[].attributes.body
Tapasa recognises that a key aspect of building respectful relationships, is through kaiako understanding their own culture and by doing so, enables kaiako to self reflect on any bias or assumptions they may have in relation to pasifika students. For collaborative and respectful relationships, this acknowledges that reciprocal power sharing - examining whose knowledge is being taught and for what reason, and being aware that our mainstream education system privileges the dominant cultural group, and creating space for learners from different cultural backgrounds to have their knowledge and experiences valued, empowering pasifika learners.

# data[].attributes.body
Promoting dialogue in a visual arts class is important because it helps promote a safe class culture which is vital when students need to be brave when being creative and sharing their visual ideas with the class. I think it’s important to remind and praise ākonga for their courage during the creative process, to communicate we are all unique and will have different ways of expressing our creativity. Promoting dialogue is a way of sharing power with the students and gives them an opportunity to contribute their opinions and ways of perceiving and expressing a topic with the class. This will also help to establish productive learning relationships, creating a more vibrant and respectful class culture overall in which is conducive to learning.

Jo Young

# data[].attributes.body
This is a great effective pedagogy to apply when in the visual arts classroom because when we are able to connect ākonga with what they know and what interests them with visual arts, that’s what can encourage deep engagement. Using Teaching as Inquiry to prompt ākonga to think about how the lesson relates to them personally and encouraging reflection of what they know, or what interests them and why, are effective ways to empower creativity.

Jo Young

# data[].attributes.body
Wānanga speaks to me about getting to know the students, listening to their views, discussing their ideas, caring about what they have to share. It’s important in this exchange to understand that “Māori parents, whanau, hapu and iwi have expertise in their own right” as stated in the Tātaiako. Supporting ākonga in what success means for them and what they would like to express through visual arts.

Jo Young

# data[].attributes.body
Turu 2: Collaborative and respectful relationships and professional behaviours, similar to Wānanga in the Tātaiako, speaks to me about listening to understand the student and encouraging what they have to share and the perspective they are coming from. To respect their values and what is important to them. To value how they would like to express themselves through visual arts and to build on what they share.

Jo Young

# data[].attributes.body
Promoting dialogue in the music classroom is exceedingly important because as an art form, music can be subjective. Building an environment where students feel safe to express how much makes them feel and allow them to listen to other opinions on the same topic allows for further thought and discussion which can help to build relationships within the classroom.

# data[].attributes.body
When students come into our classroom, if we are able to identify what has brought them to the space and where they have come from we can build stronger connections with them and among their classmates. Utilising this in the case of finding out what music they enjoy can help to guide us as teachers into how we can utilise this to help promote intrigue to our lessons that the students may get lost in. If we are able to implement their prior knowledge we can therefor build on this and also build stronger relationships.

# data[].attributes.headline
Promoting dialogue in the drama classroom

# data[].attributes.subject
Promoting dialogue in the drama classroom

# data[].attributes.body
As part of lesson planning, create a series of questions that get the students (and you) thinking! As an exercise, the whole class plan could be set into questions that help the teacher understand prior knowledge, and understanding of the unit. for example:

What do you think we are working on today?

what are we working towards?

what date is the assessment for this unit?

so that we keep on track, what do you need to get done today?

what is next for your project?

how can we best prepare/warm up physically and vocally for our work?

where do we find the tasks needed to complete the task?

how much time do we have?

what is our SMART goal for the lesson (specific, meausurable, achievable, realistic and timebound?)

how will we monitor if we have achieved our SMART goal?

After class:

how successful were we in our goal?

what do we need to do next?

What

# data[].attributes.body
Ask, ask, ask! Questions for the students: Have you seen this type of drama? have you encountered this topic/theme before? do you know anyone who has been through this character's experience? who can teach me/the rest of class about that issue?

# data[].attributes.body
Ākonga need the safe space to express their own values and ideas in the music classroom. It is the kaiako’s responsibility to create a learning environment that celebrates all ākonga’s input and allows them to see value in others’ input. This is important because music is interpretational, subjective, and based on expression, connection and emotion. The more understanding ākonga have of music from sharing their ideas, the more well-rounded musicians they are going to become.

# data[].attributes.body
Many ākonga that enter the music classroom have differing prior learning and experience. As kaiako, we must value this and take into account the level and needs of the ākonga so they will continue to learn without being held back. At the same time, we must not take for granted the experience ākonga have and mistake it for knowledge of specific musical concepts and practices. Rather, we need to make the most of prior learning and experience by using it to strengthen the new learning.

# data[].attributes.body
Communication and connection with culture needs to be a priority in the music classroom. Music itself is a way of communicating and connecting, especially in te ao Māori. To promote the cultural competency of Wānanga, kaiako can encourage ākonga to share the music they share with their whānau and communities and incorporate it into their classwork. This will allow ākonga to communicate who they are and their culture and to connect with kaiako and each other. Kaiako can also sensitively connect with local iwi and invite them to share knowledge in the classroom.

# data[].attributes.body
In the music classroom, every ākonga bring a different energy and perspective. It is important that kaiako enable all ākonga to feel valued through collaboration and meaningful engagement. Rather than speaking at the class the whole lesson, let ākonga learn from one another in an activity. Kaiako should be reciprocal with ākonga and power share, allowing everyone to be an important contributor to the classroom. This might look like inviting an ākonga to share their knowledge with the class, or collaborating with ākonga in certain parts of the learning.