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Title - Black (2005)

The movie focuses on unconventional teaching approaches and deep patience, highlighting transformation through dedication.

The movie highlights learning that is deeply rooted in experience, reflection, emotion and action, especially in contexts involving special education and non - traditional teaching methods.

Priya Pallavi

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Based on real life teacher , it focuses on commitment to equity in education and innovative methods of teaching complex concepts .

Inspires observers to recognise the efforts , planning and creative strategies during classroom evaluation.

Jyoti Jha

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Movie - Taree Zamee Pe

I chose Taare Zameen Par because it beautifully highlights the importance of understanding each child’s unique learning needs. The film reinforces key observation skills like empathetic listening, unbiased analysis, and focusing on student-centered teaching. It reminds us that effective observation goes beyond checking instructional strategies—it’s about recognizing potential, supporting teachers in addressing diverse learning styles, and fostering a nurturing environment where every child can thrive.

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( lit. 'Stars on Earth'), also known as Like Stars on Earth in English, is a 2007 Indian Hindi-language drama film produced and directed by Aamir Khan. It stars Khan himself, with Darsheel Safary, Tanay Chheda, Vipin Sharma and Tisca Chopra. It explores the life and imagination of Ishaan (Safary), an artistically gifted 9-year-old boy whose poor academic performance leads his parents to send him to a boarding school, where a new art teacher Nikumbh (Khan) suspects that he is dyslexic and helps him to overcome his reading disorder.

Creative director and writer Amole Gupte developed the idea with his wife Deepa Bhatia, who was the film's editor. Shankar-Ehsaan-Loy composed the score, and Prasoon Joshi wrote the lyrics for many of the songs. Principal photography took place in Mumbai, and in Panchgani's New Era High School, where some of the school's students participated in the filming.

Taare Zameen Par made its theatrical debut in India on 21 December 2007. It was commercially successful, earning ₹1.35 billion worldwide. It received widespread critical acclaim, with praise for its story, screenplay, direction, dialogues, soundtrack and performances. It also helped raise awareness about dyslexia.

A recipient of several accolades, Taare Zameen Par was India's official entry at the 81st Academy Awards for Best Foreign Film, but did not proceed further. At the 55th National Film Awards, it won 3 awards: Best Film on Family Welfare, Best Lyrics ( Prasoon Joshi for "Maa") and Best Male Playback Singer ( Shankar Mahadevan for "Maa"). At the 53rd Filmfare Awards, it received 11 nominations, including Best Actor (Safary), Best Supporting Actor (Aamir Khan) and Best Supporting Actress (Chopra), and won a leading 5 awards, including Best Film, Best Director (Aamir Khan) and Best Lyricist (Joshi for "Maa").

UTV Home Entertainment released a DVD for Indian audiences in 2008. Disney's later release of the international edition DVD marked the first purchase of distribution rights for an Indian film by a global company.

Ishaan Awasthi is an 8-year-old boy who has trouble following school, though he is assumed by all to hate learning and assumed to be a troublemaker, and is belittled for it. He has repeated the 3rd standard from the previous year due to his failures. His imagination, creativity, and talent for art and painting are often disregarded. His father, Nandkishore is a successful executive who expects his sons to excel, and his mother, Maya is a homemaker who is frustrated by her inability to educate Ishaan. Ishaan's elder brother, Yohan is an exemplary student in whose shadow Ishaan remains. One day, Ishaan and his parents are called by Ishaan's principal to discuss about his behavior and grades. Fed up of hearing Ishaan's failures and lack of improvement, Nandkishore sends Ishaan to a boarding school. Alone there, he rapidly sinks into a state of fear, anxiety, and depression, which is only worsened by the teachers there and their strict and abusive regime. His only friend is Rajan Damodaran, a physically disabled boy who is one of the top students and resides with his family there, as his father is part of the school's board. Ishaan contemplates suicide one day, but is stopped when he hears Rajan fall down and Ishaan gets off the ledge to help him up. Rajan also informs him that Mr. Holkar, the school's art teacher, has left the school and is being replaced by someone else.

Ram Shankar Nikumbh, a cheerful and optimistic instructor at the Tulips School for young children with developmental disabilities, joins the boarding school's faculty the same day, replacing the authoritarian Mr. Holkar, the school's former art teacher. Ram's teaching style is markedly different from that of Holkar's, and he quickly notes Ishaan's unhappiness that day after he fails to draw anything during the class. He reviews Ishaan's work and concludes that his academic shortcomings are indicative of dyslexia. Ram then visits the Awasthi's house in Mumbai, where he is surprised to discover Ishaan's hidden interest in art. Flustered, he demonstrates to Maya and Yohan how Ishaan has extreme difficulty in understanding letters and words due to dyslexia, and his poverty in sports skills stems from his poor motor ability (which also applies to his difficulty in tying shoelaces). Nandkishore labels it as an intellectual disability (as well as excuse) and dismisses it as laziness much to Ram's frustration.

Back at school, Ram brings up the topic of dyslexia in a class by offering a list of famous dyslexic people. He comforts Ishaan, telling him how he struggled as a child as well. Ram obtains the principal's permission to become Ishaan's tutor. With gradual care, he works to improve Ishaan's reading and writing by using remedial techniques developed by dyslexia specialists. Eventually, both Ishaan's demeanor and his grades improve. One day Nandkishore visits the school and tells Ram that he and Maya have read up on dyslexia and understand the condition. Ram mentions that what Ishaan needs more than understanding is that someone loves him. Outside Nandkishore sees Ishaan reading from a board. With teary eyes, he is unable to face his son and walks away.

At the end of the school year, Ram organises an arts and crafts contest for the staff and students, judged by artist Lalita Lajmi. Ishaan's work makes him the winner and Ram, who paints Ishaan's portrait, is declared the runner-up. The principal announces that Ram has been hired as the school's permanent art teacher. When Ishaan's parents meet his teachers on the last day of school, they are left speechless by the transformation in him. Overcome with emotion, Nandkishore thanks Ram. Before leaving, Ishaan runs toward Ram, who lifts him high up in a hug.

Darsheel Safary's initial screen test lacked dialogue. Aamir Khan said that when he saw Safary's expressive face, he instantly knew: "That's the child. He is Ishaan."[3]

Tisca Chopra, lead actress, addressing a press conference at the 39th International Film Festival (IFFI-2008) in Panaji, Goa

Darsheel Safary as Ishaan Nandkishore Awasthi (Inu): Maya & Nandkishore's son [4]
Veer Mohan as Little Ishaan

Aamir Khan as Ram Shankar Nikumbh: An art teacher at New Era High School and Inu's tutor, tuition teacher [5]

Tisca Chopra as Maya Awasthi: Ishaan and Yohaan's mother [6]

Vipin Sharma as Nandkishore Awasthi, Ishaan and Yohaan's father [7]

Tanay Chheda as Rajan Damodran, Inu's best friend and classmate at boarding school

Sachet Engineer as Yohaan Nandkishore Awasthi: Inu's brother
Aniket Engineer as Junior Yohaan

Ramit Gupta as Ranjeet

Girija Oak as Jabeen Khan: Nikumbh's co-worker

Bugs Bhargava and Shankar Sachdev as Sen Sir and Tiwari Sir, Two teachers at New Era High School [8]

M. K. Raina as Principal - Boarding school: The head of New Era High School

Pratima Kulkarni as Principal - St. Anthony's School

Meghna Malik as Victoria Teacher: Class and math teacher of Ishaan's former school, St. Anthony's School

Sonali Sachdev as Irene Teacher: An English teacher at Ishaan's former school, St. Anthony's School

Lalita Lajmi as herself (cameo appearance)[9]

The husband and wife team of Amole Gupte and Deepa Bhatia developed the story that eventually became Taare Zameen Par as a way of understanding why some children could not conform to a conventional educational system. Their work began as a short story that evolved into a screenplay over seven years. Bhatia said in an interview with that her original inspiration was the childhood of Japanese filmmaker Akira Kurosawa, who did poorly in school. She cited a specific place in Kurosawa's biography where he began to excel after meeting an attentive art teacher, and said that it "became the inspiration for how a teacher could transform the life of a student".

While developing the character of a young boy based on Kurosawa, Bhatia and Gupte explored some possible reasons why he failed in school. Their research led them to the Maharashtra Dyslexia Association and Parents for a Better Curriculum for the Child (PACE). Dyslexia eventually became the central topic and theme of the film. The pair worked with dyslexic children to research and develop the screenplay, basing characters and situations on their observations. Bhatia and Gupte carefully concealed the children's identities in the final version of the script.

"While Amole has written what I think is a brilliant and moving script, his contribution towards the film is not limited to that of a writer. The entire pre-production was done by him including the most important task of creating the music ... he has been present on set throughout the shooting as the Creative Director, and has been a big support and strong guiding force in my debut as a director. I thank him for that, and more so for having the faith in me by entrusting to me something that is so close to him."

Khan and Gupte first met in college. Khan has said that he admired Gupte's abilities as an actor, writer, and painter. Three years before the film's release, Gupte brought Khan to the project as a producer and actor. Gupte himself was to direct, but the first week's dailies were a great disappointment to Khan, who "lost faith in Amole and his capability of translating on screen what he had so beautifully written on paper". Khan was on the verge of withdrawing his participation in the film because of these "creative differences", but Gupte kept him on board by stepping down as director. Contrary to Khan's claim, Gupte lashed out saying that after the wrap-up party, Khan announced that he was the director of the film, despite Gupte acting as director. Had it been necessary to hire a third party, production would have been postponed for 6-8 months as the new director prepared for the film. Keen to keep Safary as Ishaan-the actor might have aged too much for the part had production been delayed-Khan took over the role of director. Taare Zameen Par was Khan's first experience in the dual role of actor and director. He has admitted that the transition was challenging, stating that while he had always wanted to direct a film, it was unknown territory for him. Gupte remained on set, "guiding [Khan] and, at times, even correcting [him]".

Initially, the film was to retain the short story's title of "High Jump", which referenced Ishaan's inability to achieve the high jump in gym class. This subplot, which was filmed but later cut, would have tied into the original ending for the movie. In this planned ending, a "ghost image" separates from Ishaan after the art competition and runs to the sports field; the film would end on a freeze frame of Ishaan's "ghost image" successfully making the leap. Aamir Khan disliked this proposed ending and convinced Gupte to rewrite it.

With the working title no longer relevant, Khan, Gupte, and Bhatia discussed several alternatives, eventually deciding on Taare Zameen Par. Possible translations of this title include Stars on the Ground and Like Stars on Earth. According to Khan:

Taare Zameen Par is a film about children and it is a film which celebrates the abilities of children. Taare Zameen Par is a title which denotes that aspect. It is a title with a very positive feel to it. All the kids are special and wonderful. They are like stars on earth. This particular aspect gave birth to the title.

Principal photography took place in India over five months. Khan spent his first two days as director blocking the first scene to be filmed: Ishaan returning home from school and putting away his recently collected fish. Believing the audience should not be aware of the camera, he chose a simple shooting style that involved relatively little camera movement.

The opening scene of Ishaan collecting fish outside his school was shot on location and at Film City. The shots of Ishaan took place at the former, while those involving the gutter terrarium were filmed at a water tank at the latter. The tank's water often became murky, forcing production to constantly empty and refill it, and causing the scene to take eight hours to film. The film's next sequence involved Ishaan playing with two dogs. To compensate for the "absolutely petrified" Safary, most joint shots used a body double, though other portions integrated close-up shots of the actor. Ishaan's nightmare-he becomes separated from his mother at a train station and she departs on a train while he is trapped in a crowd-was filmed in Mumbai on a permanent railway-station set. To work around the train set piece's immobility, production placed the camera on a moving trolley to create the illusion of a departing train. For the sequences related from the mother's point of view-shot from behind the actress-Chopra stood on a trolley next to a recreated section of the train's door.

All the school sequences were filmed on location. The production team searched for a Mumbai school with an "oppressive" feel to establish the "heaviness of being in a metropolitan school", and eventually chose St. Xavier's School. As the school is situated along a main road filming took place on weekends, to minimise the background noise, but an early scene in which Ishaan is sent out of the classroom was filmed on the day of the Mumbai Marathon. The production staff placed acrylic sheets invisible to the naked eye on the classroom windows to mask the sounds of nearby crowds and helicopters. New Era High School served as Ishaan's boarding school. The change of setting was a "breath of fresh air" for the production crew, who moved from Ishaan's small house in Mysore Colony, Chembur to the "vast, beautiful environs" of Panchgani.

Production relied on stock footage for the brief scene of a bird feeding its babies. Khan carefully selected a clip to his liking, but learned three weeks before the film's release that the footage was not available in the proper format. With three days to replace it or else risk delaying the release, Khan made do with what he could find. He says that he "cringes" every time he sees it.

Real schoolchildren participated throughout the movie's filming. Khan credited them with the film's success, and was reportedly very popular with them. Furthermore, Khan placed a high priority on the day-to-day needs of his child actors, and went to great lengths to attend to them. The production staff made sure that the students were never idle, and always kept them occupied outside of filming. New Era Faculty Coordinator Douglas Lee thought the experience not only helped the children to learn patience and co-operation, but also gave them a better understanding of how they should behave towards children like Ishaan who have problems in school. Because filming at New Era High School occurred during the winter holiday, those portraying Ishaan's classmates gave up their vacation to participate. To fill in the campus background, students from nearby schools were also brought in. A total of 1,500 children were used for wide-shots of the film's art-fair climax; medium shots only required 400 students.

New to acting, the children often made errors such as staring into the camera, and Khan resorted to unorthodox methods to work around their rookie mistakes. For example, an early scene in the film featured a school assembly; Khan wanted the students to act naturally and to ignore the principal's speech, but recognised that this would be a difficult feat with cameras present. First Assistant Director Sunil Pandey spoke continuously in an attempt to "bore the hell out of [them]", and they eventually lost interest in the filming and behaved normally. A later scene involved Nikumbh enlightening his class about famous people with dyslexia, and the children's responses to his speech were the last portion to be filmed. Having already spent 3-4 days hearing the dialogue the children's reactions were "jaded". Khan opted to film them while he recited a tale, and manipulated his storytelling to achieve the varying spontaneous reactions. The following scene had the children playing around a nearby pond. Horrified when he learned that the water was 15 feet (4.6 m) deep, Khan recruited four lifeguards in case a child fell in.

Khan found it important that the audience connect the film to real children, and had Pandey travel throughout India filming documentary-style footage of children from all walks of life. Those visuals were integrated into the end credits.

While claymation has been used in Indian television commercials, the film's title sequence-a representation of Ishaan's imagination-marked its first instance in a Bollywood film. Khan gave claymation artist Dhimant Vyas free rein over the various elements. The storyboarding took one and a half months and the shooting required 15 days. The "3 into 9" sequence, in which Ishaan delves into his imagination to solve a math problem, was originally conceived as a 3D animation. Halfway through its creation, however, Khan felt it was not turning out as he had envisioned it. Khan scrapped the project and hired Vaibhav Kumaresh, who hand-drew the scene as a 2D animation.

Artist Samir Mondal composed Ishaan and Nikumbh's art-fair watercolor paintings. He held a workshop with the schoolchildren, and incorporated elements from their artwork into Ishaan's. Mondal also instructed Khan on a painter's typical mannerisms and movements. Gupte created the rest of Ishaan's artwork and Assistant Art Director Veer Nanavati drew Ishaan's flipbook. The art department's designs for Ishaan's school notebooks disappointed Khan, who had familiarized himself with dyslexic writing. Using his left hand, Khan instead wrote it himself.

The musical sequence of "Jame Raho" establishes the characters of the four members of Ishaan's family; for example, the father is hardworking and responsible, and Yohaan is an "ideal son" who does all the right things. A robotic style of music overlaps most of the sequence-this is mirrored by the machine-like morning routines of the mother, father, and Yohaan-but changes for Ishaan's portion to imply that he is different from the rest. This concept is furthered by speed ramping and having the camera sway with the music to create a distinct style. The twilight scenes of "Maa" were a particular issue for the production crew. Because the specific lighting only lasted ten to fifteen minutes a day, the scenes took nearly ten evenings to film. Production at one time considered having a child singing, but ultimately deemed it too over the top and felt it would connect to more people if sung by an adult. Shankar initially performed the song as a sample-they planned to replace him with another singer-but production eventually decided that his rendition was best.

The trio of Shankar Mahadevan (right), Ehsaan Noorani (middle), and Loy Mendonsa (left) composed most of the film's music.

Ishaan's truancy scene-he leaves school one day after realizing that his mother has not signed his failed math test-originally coincided with the song "Kholo Kholo," but Khan did not believe it worked well for the situation. In his opinion, the accompanying song should focus on what a child wants-to be free-and be told from the first-person perspective instead of "Kholo Kholo"'s second person. When Khan took over as director, he opted to use "Mera Jahan"-a song written by Gupte-and moved "Kholo Kholo" to the art fair. Viewers of test screenings were divided over the truancy scene. Half thoroughly enjoyed it but the rest complained that it was too long, did not make sense, and merely showed "touristy" visuals of Mumbai. Khan nevertheless kept the scene, because he "connected deeply" with it and felt that it established Ishaan's world.

Shiamak Davar choreographed the dance sequence of "Bum Bum Bole," and was given free rein over its design. He had intended to use 40 students from his dance school, but Khan did not want trained dancers. Davar gave the children certain cues and a general idea of what to do, but left the style and final product up to them to avoid a choreographed appearance. Time constraints meant that while Khan was busy filming "Bum Bum Bole," Ram Madhvani took over as director for "Bheja Kum". The latter sequence, containing a "fun-filled" song of rhythmic dialogue, allowed the audience to perceive how Ishaan sees the world and written languages. It was intended to represent "a young boy's worst nightmare, in terms of ... the worst thing that he can think of"; Madhvani based the visual concept on his son's fear of "creepy-crawlies" such as cockroaches, dragonflies, and lizards. Tata Elxsi's Visual Computing Labs made the creatures out of the English alphabet and numbers, although Khan insisted they include the Hindi alphabet as not all the audience would be familiar with English. The chalkboard writing's transformation into a snake was included to surprise the audience and "end the song on a high note."

In writing the song "Taare Zameen Par," lyricist Prasoon Joshi followed the theme of "however much you talk about children, it's not enough." Every line throughout the song describes children, and only one repeats: "Kho Naa Jaaye Yeh / Taare Zameen Par" ("Let us not lose these / Little stars on earth"). The song is mostly set to the annual day performance by the developmentally disabled children of Tulips School. Actual students from Tulips School and Saraswati Mandir participated, and were filmed over a period of five days. The sequence originally featured numerous dance performances, but was trimmed down when test audiences found it too long. A song accompanying the scene in which Ishaan's mother is watching home videos of her son was also cut, and replaced with background music after test audiences expressed their opposition to yet another song.

"It is easier when you have to create a song like "Move Your Body" in Johnny Gaddaar. There you can add a lot of nonsense in the recording studio. On the other hand, something like Taare Zameen Par requires melody to hold center stage. There is a different level of energy that you have to bring in composing for such different soundtrack as we had to be subdued yet effective in Taare Zameen Par."

Timing and other aspects are usually planned when scoring a film, but Khan chose to take a more improvised approach. Instead of using a studio, he and the trio Shankar-Ehsaan-Loy recorded it at Khan's home in Panchgani, to clear their heads and not be in the mindset of the city. As they watched the film, Khan pointed out when he wanted music to begin and of what type. Ehsaan Noorani noted that this strategy allowed the score to have a "spontaneity to it."

Different styles of background music were used to convey certain things. For example, a guitar is played when Ishaan is tense or upset, sometimes with discordant notes. The music of the opening scene-the recurring "Ishaan's Theme," which represents the character's peace of mind-overpowers the background noise to show that Ishaan is lost in his own world; the noise becomes louder after he snaps back to reality. But the scene in which Nikumbh explains dyslexia to Ishaan's family took the opposite approach. Silent at first, the music is slowly introduced as the father begins to understand his son's dilemma. The almost seven-minute long scene scarcely used any background music, to slow the pace and make it seem more realistic.

When filming part of the montage that details Ishaan's tutoring by Nikumbh, Khan immediately decided it would be the "key art of the film". He noted that "this one shot tells you the entire story", and used it for the poster.

Taare Zameen Par was released worldwide on 14 December 2007, although countries such as Australia, Malaysia, New Zealand, and Fiji opened it on 20 December. It debuted in India with 425 prints, although revenue-sharing issues between the film's distributors and theatre owners caused some slight delays. The movie grossed ₹150 million (US$3.63 million) domestically within the first three days. Its theatre occupancy in Mumbai dropped to 58 percent during its third week, but climbed back to 62 percent the following week-this brought the total to ₹770 million (US$18.62 million)-after the Maharashtra government granted the film exemption from the entertainment tax. Anticipating further tax exemption in other states, world distributor PVR Pictures circulated 200 more prints of the film. The film completed its domestic run with $19,779,215. To reach more audiences, the film was later dubbed in the regional languages of Tamil (Vaal Nakshatram) and Telugu. Both were scheduled for release on 12 September 2008. It grossed $1,223,869 in the US by its seventh week, and £351,303 in the UK by its ninth week. Reports regarding the film's worldwide gross have conflicted, with sources citing ₹889.7 million (US$21.52 million),₹1.07 billion (US$25.88 million), ₹1.31 billion (US$31.68 million), and ₹1.35 billion (US$32.65 million).

In response to Khan's support for the Narmada Bachao Andolan and his criticism of Chief Minister Narendra Modi, approximately 50 activists of the Sardar Patel Group conducted protests outside of PVR and INOX theatres in Vadodara, Gujarat. The group also issued statements to all the multiplexes of Gujarat, suggesting that the film not be screened unless Khan apologised for his comments. The INOX cinema eventually boycotted the film; INOX Operations Manager Pushpendra Singh Rathod stated that "INOX is with Gujarat, and not isolated from it".

The International Dyslexia Association screened Taare Zameen Par on 29 October 2008 in Seattle, Washington. Khan noted in his official blog that there were about 200 people in the audience and that he was "curious to see the response of a non-Indian audience to what we had made." He felt some concern that Taare Zameen Par was shown in a conference room rather than a cinema hall and was projected as a DVD rather than as a film. He said that the showing concluded to an "absolutely thunderous standing ovation" which "overwhelmed" him and that he "saw the tears streaming down the cheeks of the audience." Khan also noted that the reaction to the film "was exactly as it had been with audiences back home in India".

UTV Home Entertainment released the film on DVD in India on 25 July 2008. It was launched at Darsheel Safary's school, Green Lawns High School, in Mumbai. Aamir Khan, Tisca Chopra, Vipin Sharma, Sachet Engineer, and the rest of the cast and crew were present. In his speech, Khan stated, "Darsheel is a very happy child, full of life and vibrant. I am sure it's because of the way his parents and teachers have treated him. I must say Darsheel's principal Mrs. Bajaj has been extremely supportive and encouraging. The true test of any school is how happy the kids are and by the looks of it, the children here seem really happy."

Walt Disney Studios Home Entertainment, whose parent company previously acquired 33 percent of UTV Software Communications, bought the DVD rights for distribution in North America, the United Kingdom, and Australia for ₹70 million (US$880,000). This marked "the first time an international studio has bought the video rights of an Indian film." Retitling it Like Stars on Earth, Disney released the film in Region 2 on 26 October 2009, in Region 1 on 12 January 2010, and in Region 4 on 29 March 2010. A three-disc set, the Disney version features the original Hindi audio soundtrack with English subtitles or another dubbed in English, as well as bonus material such as audio commentary, deleted scenes, and the musical soundtrack. The film is available on Netflix.

Critics praised Aamir Khan for his directorial debut, which garnered him many awards and nominations.

Taare Zameen Par received widespread critical acclaim upon release. On the review aggregator website Rotten Tomatoes, 92% of 12 critics' reviews are positive, with an average rating of 7/10. Subhash K. Jha suggests that the film is "a work of art, a water painting where the colors drip into our hearts, which could easily have fallen into the motions of over-sentimentality. Aamir Khan holds back where he could easily resort to an extravagant display of drama and emotions." Rajeev Masand of argued that the true power of the film lies in its "remarkable, rooted, rock-solid script which provides the landscape for such an emotionally engaging, heart-warming experience." Manish Gajjar from the stated that the film "touches your heart and moves you deeply with its sterling performances. [It is] a film full of substance!" Jaspreet Pandohar, also of BBC, posited that Taare Zameen Par is a "far cry from the formulaic masala flicks churned out by the Bollywood machine," and is "an inspirational story that is as emotive as it is entertaining; this is a little twinkling star of a movie." Furthermore, Aprajita Anil of gave the film four stars and stated, " Taare Zameen Par cannot be missed. Because it is different. Because it is delightful. Because it would make everyone think. Because it would help everyone grow. Because very rarely do performances get so gripping. And of course because the 'perfectionist' actor has shaped into a 'perfectionist' director." In addition, filmmaker Anurag Kashyap stated that, " Taare Zameen Par took me back to my hostel days. If you take away the dyslexia, it seems like my story. The film affected me so deeply that I was almost left speechless. After watching the film, I was asked how I liked Taare Zameen Par. I could not talk as I was deeply overwhelmed."

However, there were some criticisms. Jha's only objection to the film was Nikumbh's "sanctimonious lecture" to Ishaan's "rather theatrically-played" father. Jha found this a jarring "deviation from the delectable delicacy" of the film's tone. Although she applauded the film overall and recommended "a mandatory viewing for all schools and all parents", Nikhat Kazmi of The Times of India believed the second half was "a bit repetitive," the script needed "taut editing," and Ishaan's trauma "[seemed] a shade too prolonged and the treatment simplistic." Despite commending the "great performances" and excellent directing, Gautaman Bhaskaran of The Hollywood Reporter, too, suggested that the movie "suffers from a weak script." Likewise, Derek Kelly of criticized it for what he described as its "touchy-feely-ness" attention to "a special needs kid's plight." Kelly also disliked the film for being "so resolutely caring ... and devoid of real drama and interesting characters" that "it should have 'approved by the Dyslexia Assn.' stamped on the posters."

In his article " Taare Zameen Par and dyslexic savants" featured in the Annals of Indian Academy of Neurology, Ambar Chakravarty noted the general accuracy of Ishaan's dyslexia. Though Chakravarty was puzzled by Ishaan's trouble in simple arithmetic-a trait of dyscalculia rather than dyslexia-he reasoned it was meant to "enhance the image of [Ishaan's] helplessness and disability". Labeling Ishaan an example of "dyslexic savant syndrome", he especially praised the growth of Ishaan's artistic talents after receiving help and support from Nikumbh, and deemed it the "most important (and joyous) neurocognitive phenomenon" of the film. This improvement highlights cosmetic neurology, a "major and therapeutically important issue" in cognitive neuroscience and neuropsychology.

Likewise, in their article "Wake up call from 'Stars on the Ground'" for the Indian Journal of Psychiatry, T. S. Sathyanarayana Rao and V. S. T. Krishna wrote that the film "deserves to be vastly appreciated as an earnest endeavor to portray with sensitivity and empathetically diagnose a malady in human life". They also felt it blended "modern professional knowledge" with a "humane approach" in working with a dyslexic child. However, the authors believed the film expands beyond disabilities and explores the "present age where everyone is in a restless hurry". The pair wrote, "This film raises serious questions on mental health perspectives. We seem to be heading to a state of mass scale mindlessness even as children are being pushed to 'perform'. Are we seriously getting engrossed in the race of 'achievement' and blissfully becoming numb to the crux of life i.e., experiencing meaningful living in a broader frame rather than merely existing?" The film depicts how "threats and coercion are not capable of unearthing rich human potentialities deeply embedded in children", and that teachers should instead map their strengths and weakness. With this in mind, the author felt that Khan "dexterously drives home the precise point that our first priority ought to be getting to know the child before making any efforts to fill them with knowledge and abilities". Overall, the pair found a "naive oversimplification" in the film. With India "only recently waking to recognizing the reality and tragedy of learning disability", however, they "easily [forgave the film's fault] under artistic license".

The film raised awareness of the issue of dyslexia, and prompted more open discussions among parents, schools, activists, and policymakers. Anjuli Bawa, a parent-activist and founder of Action Dyslexia Delhi, said that the number of parents who visit her office increased tenfold in the months following the film's release. Many began taking a more proactive approach by contacting her after noticing problems, rather than using her as a last resort. Gupte himself received "many painful letters and phone calls" from Indian parents. He noted, "Fathers weep on the phone and say they saw the film and realized that they have been wrong in the way they treated their children. This is catharsis."

These reactions have also brought about a change in policies. The film, only ten days after its debut, influenced the Central Board of Secondary Education to provide extra time to disabled children-including visually impaired, physically disabled, and dyslexic students-during exams. In 2008, Mumbai's civic body also opened 12 classrooms for autistic students. In Chandigarh, the education administration started a course to educate teachers on how to support children with learning disabilities.

The film has had a similarly positive response in Greater China, where the film was not officially released yet has a large online cult following due to Aamir Khan's popularity in the region after the success of (2009). The film has been well received by Chinese audiences for how it tackles issues such as education and dyslexia, and is one of the highest-rated films on popular Chinese film site Douban, along with two other Aamir Khan films, 3 Idiots and (2016).

Among its many awards, Taare Zameen Par won the Filmfare Award for Best Film for 2008, as well as the National Film Award for Best Film on Family Welfare. Khan's directorial role and Safary's performance were recognized at the 2008 Zee Cine Awards, 2008 Filmfare Awards, and 4th Apsara Film & Television Producers Guild Awards.

2009 Academy Awards submission and Slumdog Millionaire

Taare Zameen Par was initially acclaimed as India's official entry for the 2009 Academy Awards Best Foreign Film, but after it failed to progress to the short list, a debate began in the Indian media as to why Indian films never win Academy Awards. Speculation for the reasons behind Taare Zameen Par's failed bid included Rediff.com's Arthur J. Pai's observation that it lacked mainstream media attention; AMPAS jury member Krishna Shah criticized its length and abundance of songs.

"Three days before Chandni Chowk to China hit theaters in the U.S. and India, the Academy of Motion Picture Arts and Sciences announced its shortlist of nine films edging closer to a foreign-language nomination. India's submission, the powerful and moving Taare Zameen Par by Aamir Khan, didn't make the cut. Sadly, that film never will be seen by mainstream American audiences; yet Chandni Chowk is enjoying a hefty publicity push. If only Taare Zameen Par could have gotten its hands on that magic potato."

- American film critic Lisa Tsering in The Hollywood Reporter.

Khan claimed that he was "not surprised" that Taare Zameen Par was not included in the Academy Award shortlist, and argued, "I don't make films for awards. I make films for the audience. The audience, for which I have made the film, really loved it and the audiences outside India have also loved it. What I am trying to say is that film has been well loved across the globe and that for me it is extremely heartening and something that I give very high value to."

The Indian news media also frequently compared Taare Zameen Par's nomination failure with the British drama film Slumdog Millionaire's multiple Academy Award nominations and wins, and noted that other Indian films in the past were overlooked. Film critic Rajeev Masand argued that it is difficult to compare the two films and noted that Slumdog Millionaire was being marketed in a way that Indian films such as Taare Zameen Par could not compete with. In this context, Slumdog Millionaire actor Mahesh Manjrekar stated, "I'm sad that Aamir's Taare Zameen Par didn't make it to the final round of the Oscars. I thought it to be way better than Slumdog [ Millionaire]..., without taking away anything from Boyle and the kids. But, Indian movies are underestimated there."

The soundtrack for Taare Zameen Par was released on 4 November 2007 under the label T-Series. The music is mainly composed by Shankar-Ehsaan-Loy, with lyrics by Prasoon Joshi. However, "Mera Jahan" was scored by Shailendra Barve and written by Gupte. Joshi received the National Film Award for Best Lyrics, and Shankar Mahadevan won the National Film Award for Best Male Playback Singer, both for "Maa."

Joginder Tuteja of Bollywood Hungama praised the variety of genres present in the soundtrack and the lack of remixes. He gave it an overall rating of 3.5 out of 5 stars, calling it a "zero compromise album" that "stays true to the film's spirit". Planet Bollywood's Atta Khan rated it 9 out of 10, noting that the soundtrack "unquestionably lives up to all expectations". He felt that it maintained an "all round polished nature" and "is destined to become a classic". Although he, too, enjoyed the musical variety, he believed the composers overused the guitar and synthesizers. Sukanya Verma of Rediff.com gave the soundtrack a score of 3 out of 5, commenting, " Taare Zameen Par isn't your regular soundtrack about fluttering hearts and sleepless nights. What makes these delicate and whimsical creations special is their underlying innocence." According to the Indian trade website Box Office India, with around 1,100,000 units sold, this film's soundtrack album was the year's thirteenth highest-selling.

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( lit. 'Stars on Earth'), also known as Like Stars on Earth in English, is a 2007 Indian Hindi-language drama film produced and directed by Aamir Khan. It stars Khan himself, with Darsheel Safary, Tanay Chheda, Vipin Sharma and Tisca Chopra.

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The Innovator's Mindset

By George Couros

Available on Amazon

🎯 Core Message

Innovation = Growth Mindset + Creativity

"If we want innovative students, we need innovative educators. Innovation begins with YOU."

🔑 Key Idea

Innovation Definition: "A way of thinking that creates something new and better"

Replace compliance with curiosity. Focus on relationships first, then empower students with voice and choice.

✨ 8 Characteristics

1. Empathetic 2. Problem Finders 3. Risk Takers 4. Networked

2. Observant 6. Creators 7. Resilient 8. Reflective

💡 Key Quote

"If students leave school less curious than when they started, we have failed them."

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Title: “Wise and Otherwise” by Sudha Murty
Caption:
This collection of real-life stories by Sudha Murty offers powerful insights into human behavior, values, and social responsibility. I chose this book because it fosters empathy, critical thinking, and reflection—skills I found essential during classroom observations. It reminds us that behind every student and teacher is a unique story, and understanding that story helps us become more mindful observers and more effective educators

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Understanding human and human nature is one of the toughest jobs .Many time what seems right and good or vice versa can be completely different if explored to proper depth. In many instance, we all come across people and forms an opinion about the people we meet without actually knowing anything about them. But hearing and learning about such instances helps us to redefine our thought process and become wiser. Sudha Murty's book Wise and otherwise will take you to a journey across the length and breadth of India through narrations of 51 stories inspired by the extensive travels of the author herself.

Wise and otherwise has generated interest not just as an inspirational book of people's struggles and how they overcome it but also for its settings. It present a realistic picture of India with its values, traditions and imperfections and lay before the readers certain set of moral values whose validity they have to judge for themselves. It unravels human nature and shows all that is good and bad in it and how it is often shaped by intention and circumstances. From the story of a son who leaves his father in an old age home pretending he is a stranger to the story of earthquake aid being exploited and not reaching to victims, each story is a moving one and will generate myriads of emotions within the readers, ranging from anger to kindness to pity to the realisation of reality of the world. The book grabs the attention of the reader through its skilful narration of characters, setting and situations.

The book is available online for convenient shopping. You can bag this book from Amazon.in today by following a few easy steps.

About the author

Sudha Murty is a social activist and worker and also a prolific writer in Kannada and English. She is well known for her social work as the chairperson of Infosys Foundation. Through her writings, she tries to highlight the social issues prevalent in the society. 'Dollar Sose' authored by her in Kannada is her most renowned work and beside that. she has authored several other books like How I taught my grandmother to read, The Accolades Galore, House of Cards etc in English and Yashashvi, Tumula, Paridihi Computer Lokadalli in Kannada language. Sudha Murty has been decorated with several awards from prestigious institutions. She is the better half of N.R. Narayana Murthy.

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Wise and Otherwise: A salute to Life [Paperback] Sudha Murty

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Wise and Otherwise: A salute to Life [Paperback] Sudha Murty : Murty Sudha, Murty Sudha: Amazon.in: Books

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The ideal teacher encourages curiosity, creativity and self expression .

The story criticizes labeling students as 'failures' or 'weak '.

Story tells Backbenchers are often unique thinkers or silent observers .

It challenges the rigid and performance -oriented education system .

Backbenchers often remain unheard . Story acts as a voice for them .

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Man's Search for Meaning

By Viktor E. Frankl

Frankl’s journey through adversity teaches the importance of finding purpose in life, even in the harshest circumstances. This deeply resonates with the resilience and self-awareness we explored during SCOR. It can be used to foster emotional growth and reflection in a classroom.

·  Cultivates Empathy and Compassion: By sharing personal stories of survival during the Holocaust, the book humanizes suffering and helps students understand the depth of human emotions, encouraging empathy.

·  Encourages Inner Strength and Responsibility: Frankl emphasizes that we cannot always control our circumstances, but we can control how we respond to them—a core idea for building emotional intelligence and personal responsibility.

·  Supports Mental Well-being: The book introduces logotherapy, a form of psychotherapy focused on meaning-making, which can be adapted into reflective classroom activities that support students' mental and emotional well-being.

·  Promotes Reflective Thinking: The narrative challenges students to reflect on their own values, purpose, and mindset—fostering deeper self-awareness and long-term personal growth.

·  Cross-disciplinary Connections: The themes in the book can be integrated into literature, psychology, philosophy, and ethics discussions—offering opportunities for rich, interdisciplinary exploration.

·  Inspires Hope and Purpose: In a time where many young people struggle with meaning and motivation, Frankl’s message is timeless—“Those who have a why to live, can bear with almost any how.”

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Storytelling – Connecting Minds and Hearts

I chose storytelling as a strategy because it not only makes learning engaging but also has a powerful impact on brain development. Neuroscience shows that stories activate multiple areas of the brain, helping create strong neural connections by linking emotions, language, and sensory experiences. This enhances memory retention and deep understanding.

Storytelling fosters vital 21st-century skills such as communication, creativity, empathy, and critical thinking. By sharing stories, students strengthen their language abilities, imagination, and social-emotional skills. Storytelling also promotes empathy as learners experience different perspectives, making classrooms more inclusive and collaborative.

This strategy transforms learning from passive listening to active, meaningful participation.

Twinkle Khanna

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My Journey: Transforming Dreams into Actions
by Dr. A.P.J. Abdul Kalam

My Journey: Transforming Dreams into Actions is a collection of simple yet profound stories from the life of Dr. A.P.J. Abdul Kalam, where he reflects on the impact his teachers had on shaping his life. One particular story about his school teacher who explained the power of the sun through an experiential activity resonates deeply with SCOR’s vision of learning through doing and reflective teaching.

This book reminds me that the right observation, timely feedback, and a believing teacher can transform a child’s life. It reinforces that teachers are mirrors, and the clarity of our reflection helps shape the growth of our learners.

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Title: Experience and Education by John Dewey

Dewey’s classic underscores that not all experiences are equal—teachers must design thoughtfully sequenced, meaningful learning cycles. This mirrors SCORE’s emphasis on structured inquiry, reflective learning, and purposeful engagement. It inspires educators to move beyond rote methods and create dynamic, student-centered classrooms where learning is active, contextual, and deeply connected to students’ lives.

This book complements your earlier selection (Dead Poets Society) by grounding inspirational teaching in a solid framework for experiential, reflective, and intentional learning.

Sources

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Title: The Power of Now: Presence in Observation

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I chose "The Power of Now" by Eckhart Tolle as it beautifully aligns with the core essence of SCOR—being fully present, intentional, and non-judgmental in every moment of observation.

This book reminded me that true insight comes when we are fully grounded in the present. During SCOR training, I learnt to notice subtle yet significant details in the classroom—not just what was taught, but how it was received, how students responded, how energy shifted. That required stillness, clarity, and complete presence—the very qualities this book cultivates.

The Power of Now fostered in me:

Deep listening and observation without bias

Non-reactive reflection, especially when reviewing challenging classroom moments

Heightened awareness of student-teacher dynamics

The ability to anchor feedback in the now, not past assumptions

Just as Tolle teaches us to separate thought from awareness, SCOR taught me to separate perception from judgment—to observe what is, and to respond with purpose, not react out of habit.

This mindset has transformed my approach—from checklist-based observation to presence-based noticing—and I believe it’s the foundation for authentic, impactful educational leadership.

– Seema Tripathi

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How Learning Works: Seven Research‑Based Principles for Smart Teaching

By: Susan A. Ambrose, Michael W. Bridges, Michele DiPietro, Marsha C. Lovett, & Marie K. Norman

This highly regarded guide bridges the gap between educational research and classroom practice. Grounded in cognitive, developmental, and social psychology, the authors distill decades of study into seven core principles that explain how learning unfolds—and, crucially, how instructors can leverage this understanding:

1. Prior knowledge

2. Organization of knowledge

3. Motivation

4. Mastery development

5. Practice with feedback

6. Course climate & student development

7. Self‑directed learning

Each chapter begins with realistic teaching scenarios, outlines the research behind the principle, then provides 15–20 practical strategies—including concept maps, rubrics, exam wrappers.

“Full of great ideas and practical suggestions, all based on solid research evidence.

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Aditi Tiwari

Caption- I chose this movie because a teacher can find deep and lasting inspiration from Freedom Writers by witnessing the transformative power of empathy, connection, and student-centered teaching. This movie reminds educators that real change begins when students feel seen, heard, and valued.

It also fosters the skills I have learnt during the SCOR training as It Sharpens Your Eye for Student Engagement, Helps You Recognize Student-Centered Teaching, Demonstrates the Power of Relationships between the teacher and the students and Encourages Reflective Observation. The movie urges you not just to observe techniques—but to reflect on why they matter. It reminds you to go beyond surface-level feedback.

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“Experiential Learning: Experience as the Source of Learning and Development”

Author: David A. Kolb

This groundbreaking book introduces the Experiential Learning Theory (ELT)—a model that emphasizes learning through experience, reflection, and application. Kolb argues that true learning happens when learners:

·       Have a concrete experience

·       Reflect on that experience

·       Conceptualize it by forming theories or models

·       Actively experiment with the new understanding

As a teacher, embracing experiential learning is saying:

“I want my students to not only learn information—but to own it, feel it, and use it to shape their world.”

That’s the kind of teaching that sticks. That’s the kind of learning that lasts.

Kolb emphasizes that reflection is key to learning. As an observer, this helps you:

Reflect more deeply on your own teaching and biases.

Recognize what worked well in the lesson—and why Engage in meaningful post-observation discussions.

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🟪 Title:

Turning Weakness into Strength: A Classroom Revolution.

🟨 Caption:

I chose the Bollywood movie Hichki because it captures the essence of what the SCOR program stands for—strategic observation, reflective practice and understanding the deeper intent behind teaching methods.

The teacher in the film, despite facing her own challenges, finds creative and inclusive ways to connect with students who are usually ignored by the system . She doesn’t stick to the textbook—she teaches with heart, intent and purpose. Her teaching is not textbook-driven but purpose-driven, focused on building confidence, creativity and curiosity.

Through Hichki, I understood how strategic observation isn’t just about checking lesson plans or discipline—it's about noticing how a teacher adapts, includes and uplifts every learner. It reminded me that good reporting should highlight not just what’s missing, but also what’s working quietly but powerfully in a classroom.

This movie reinforced key SCOR skills like critical thinking, adaptability, deep reflection etc.

Her journey mirrors what SCOR has trained me to do as an observer, thereby aligning with the skills learnt in this programme:

• To observe with empathy—seeing beyond surface behaviours and understanding the why behind a teacher's actions or a student’s response.

• To appreciate inclusive and differentiated teaching, especially for learners who are often left behind.

• To recognize intent and effort, not just execution in classroom practices.

• To use reflective thinking when writing reports, making feedback more meaningful and supportive.

• Recognizing 21st-century skills like problem-solving, collaboration and student engagement in real settings, adaptability, creativity and emotional intelligence.

~ Penned by Vani Vij

( Q C R&D member. Sunbeam Group of Educational Institution )

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Title - Dead Poet Society

Caption- I choose this movie because, it is a powerful and emotionally stirring film that explores the themes of self-expression, individuality, critical thinking, and the transformative power of education the film revolves around an English teacher who inspires his students through poetry, urging them to “seize the day” (carpe diem) and look at the world from new perspectives. It also covers three parameters of the SCOR which we have learned such as teacher student relationship, classroom environment, student engagement as how non-traditional methods can create a more engaging and student-centred learning environment. This movie should be watched not for syllabus coverage, but for sparks of passion, curiosity, and connection because great teaching, like Mr. Keating’s, leaves an impact far beyond the classroom.

Rishi Narayan Singh

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Miracles in the Classroom: A Reflection on Leadership, Growth, and the SCOR Experience

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PAUL PUTHENVEETIL VARIATH

As part of my professional development journey through the SCOR (Strategic Classroom Observation and Reporting) programme, I chose to watch the documentary The Miracle Man, a powerful narrative of resilience, vision, and transformative leadership. This film chronicles the life of an individual (Morris E Goodman) who, against all odds, overcomes adversity and inspires others to believe in possibilities beyond limitations. The story resonated deeply with me, not only for its message of hope and determination but also for the parallels it draws with the core principles I have embraced through the SCOR programme.

I selected this documentary because it exemplifies the kind of reflective leadership and unwavering commitment to improvement that the SCOR framework encourages. Just as the protagonist identifies potential where others see obstacles, my role as an Addl. Director-QCR&D involves recognizing strengths in my team members while constructively addressing areas for growth. The film reinforced the importance of fostering a culture where feedback is seen as a tool for empowerment, and where collective belief in progress can lead to remarkable outcomes.

The skills I have developed through SCOR — such as objective observation, evidence-based feedback, empathetic communication, and collaborative action planning — find a profound echo in the documentary’s message. It reminded me that genuine transformation, whether in a classroom or a community, begins with the courage to observe honestly, the wisdom to provide meaningful guidance, and the resilience to pursue continuous improvement despite challenges.

The Miracle Man has, therefore, not only inspired me personally but also reaffirmed the values of empathy, perseverance, and visionary leadership that underpin effective classroom observation and reporting. It serves as a compelling reminder that, as educators and leaders, our ability to identify potential, nurture growth, and celebrate progress can truly work miracles in the lives of those we serve.

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EFL's goodie bag

Waiting for Superman – Dir. Davis Guggenheim
Provokes thought on systemic observation—who is seen, who is left out, and how systems shape teacher practice.

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EFL's goodie bag

Paper Tigers – Documentary
Follows how a trauma-informed approach transforms classrooms. Encourages observation beyond behavior to context.

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EFL's goodie bag

To Be and To Have (Être et Avoir)

Observes a single-teacher classroom in rural France with minimal interference—perfect for studying natural interactions.

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EFL's goodie bag

The Class (Entre les murs)

A powerful portrayal of a real teacher's year with students in a Paris school. Great for noticing teacher-student dynamics.

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EFL's goodie bag

Visible Learning for Teachers – John Hattie

Helps link observation data to research-based learning impacts.

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EFL's goodie bag

Making Thinking Visible – Ritchhart, Church, Morrison

Great for observing how students think, communicate, and reason in real-time.

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EFL's goodie bag

Instructional Rounds in Education – City, Elmore, Fiarman, Teitel

Introduces a structured process of classroom observation for school improvement.

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EFL's goodie bag

Teach Like a Champion – Doug Lemov
Based on thousands of observations. Offers key techniques to spot during classroom visits and how they impact learning.

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Think about a specific practice, strategy, book, or movie that has inspired you or that you believe can bring the skills you learnt during SCOR program. Share this on our Padlet with a title and a caption explaining why you chose it and how it can foster 21st-century skills.

Instructions:

1. Title: Give your chosen item a compelling title.

2. Caption: Write a brief caption explaining:

Why you chose this practice, strategy, book, or movie.

How it will foster the skills you learnt during SCOR program.

Don’t forget to write your name at the end of your caption.

Team EFL