Your professional learning PL underpins the Professional Update process. Planning and reviewing the impact of professional learning based on rigorous self evaluation processes is an integral part of the Professional Review and Development PRD process. This provides an opportunity for you to engage in critically reflective dialogue about your professional learning, drawing on evidence of impact.
Self-evaluation involves asking deep and searching questions about your professional knowledge, understanding, skills and practice. As part of this process your self-evaluation should be supported by evidence from a range of sources drawn from day-to-day learning and teaching.
But, what do we mean by evidence? What can be considered as evidence? When and why is evidence important? Here we provide some guidance and examples on gathering and using evidence of impact as part of your Professional Learning journeys. The three examples are from teachers who have engaged in the process of self evaluation, reflecting on professional learning and using evidence of impact to inform their thinking.
The examples show how they have reflected on this in preparation for their PRD. The diagram below captures the PL process and the place of evidence within it. When you engage in self evaluation and reflect on your practice, your professional learning plans for or impact of , or your pupils' learning it should be informed by some form of evidence.
- GRAVITY GAUGE THEORIES AND GEOMETRIC ALGEBRA;
- To want to learn : insights and provocations for engaged learning / Jackson Kytle - Details - Trove.
- Ava Gardner: The Secret Conversations?
- To Want to Learn: Insights and Provocations For Engaged Learning - PDF Free Download.
- Topics in Pediatrics: A Festschrift for Lewis A. Barness.
The following questions are an important part of this process:. Gathering evidence of impact of your professional learning helps to make explicit the processes of thinking and learning about practice. For Professional Update and the PL process, using evidence should not be about 'proving a competence' or gathering lots and lots of data - the 'keep everything' mentality.
This process should allow you to think about you and your learning, as well as your practice and pupil learning. A key part of this process is asking: "What have I learned? It is about moving from tacit reflections to a more explicit analytical process. Often this involves a shift from being reactive to a more proactive approach to PL. This might well involve you focusing on a one or two critical incidents as part of your learning process.
You may find the book 'Critical Incidents in teaching' by David Tripp useful. Evidence should come from a wide range of sources and does not always need to be a written record. Data is everywhere but for it to be evidence it must:. Converting data to evidence Questions to ask yourself.
The following three examples show how individual teachers have engaged with this process and used evidence as part of their ongoing professional learning and practice.
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The best schools nurture the teachers who work there as well as the students who learn within the walls. Learning from our colleagues deserves time and attention, as it opens up new ideas about what professional development should be. Changing outcomes in classrooms requires teachers to challenge what they know and what they think is developmentally appropriate, and to reach beyond pedagogical techniques.
In our experience, this can happen only in an environment that is respectful of differences in viewpoint, supportive in trying something new, and mindful of the willingness of teachers to shed their sensitivity and isolation. Teachers who have grown accustomed to working alone transform their thinking into creating solutions as they share with their colleagues. This transformation in teaching practices can happen only in an environment where collaboration and discussion are highly valued.
Teaching for creativity involves asking open-ended questions where there may be multiple solutions; working in groups on collaborative projects, using imagination to explore possibilities; making connections between different ways of seeing; and exploring the ambiguities and tensions that may lie between them. There is much about the Reggio Emilia approach that distinguishes it from other efforts to define best practices in early childhood education. George Forman and Brenda Fyfe describe the hundred languages of children as symbolic languages children use to express their own knowledge and desires through artwork, conversation, early writing, dramatic play, music, dance, and other outlets.
Recognizing that at the very core of creativity is our desire to express ourselves, Reggio Emilia schools create environments that inspire and support creative thinking and invention. If building and sustaining relationships are to be the foundation of a learning community, then creativity must always be present.
Creativity is the conduit—the instrument that allows us to communicate with and understand others. At Pinnacle, every learning space has paper and writing instruments. In the imaginary play spaces within the classrooms and the playground outside, children are actively writing and drawing. It becomes a part of the culture of learning, a process that is internalized within the group. We have made a conscious effort to steer away from purchasing ready-made materials, such as pre-cut foam pieces or rubber stamps, and instead spend resources on paper, clipboards, and multiple forms of writing and drawing tools.
Asking children to draw what they see and then revisit the subject later to add yet more detail is the very essence of scientific observation. When the tarantula joins the classroom, teachers place magnifying glasses, small clipboards with paper, and markers next to the terrarium. They place nonfiction books about spiders on the shelf near the terrarium and display close-up pictures of different kinds of spiders. Rather than instructing the children, the teachers set up the provocation and then take a step back.
In Reggio Emilia-inspired schools, teachers place great emphasis on using materials and activities that provoke investigation and group learning. As expected, being curious and inventive little people, the children are very excited about the new spider addition to their classroom. They closely watch the tarantula, using the magnifying glasses to see the details and then drawing what they observe.
The conversation is lively and loud as they speculate about where the spider came from, what the spider eats, whether it is a boy or a girl spider, and how the spider compares to the other spiders in the photographs. When the children ask their teachers what kind of spider it is, the teachers seem uncertain and wonder aloud how the class might figure it out.
We act as guides in the hunt for information. The children want to write, because the writing is meaningful to them. The scientific inquiry, early literacy, and math opportunities naturally fall into place around the spider investigation. Creativity seems to emerge from multiple experiences, coupled with a well-supported development of personal resources, including a sense of freedom to venture beyond the known. Historically, an atelier serves not only as a place where seamstresses, carpenters, painters, sculptors, and other artists could create their products, but also as a place that could offer inspiration and answers to their questions.
Inspired by the schools of Reggio Emilia, we have created a special place, separate from the classrooms, where children use creative art as a tool to represent their ideas and feelings. Though classrooms have a scheduled time each week to visit the atelier, teachers are welcome to bring small groups to the atelier to create at any time. The two teachers in our atelier have a close relationship with the classroom teachers. As colleagues, they communicate about the interests of the children and work going on in the classroom.
Today, the children arrive in the atelier to find a shadow of a spider cast across the white tiled floor. They delight in this discovery and wonder how this can possibly be. Some reach down with hesitant hands to touch the dark shadow on the floor. Encouraged, they soon search out the source of the bright light. In the corner is an overhead projector with a spider photograph laying on the light tray. The teachers allow them to touch the equipment and investigate. They giggle at the discovery that the spider on the floor moves when the photograph moves.
To Want to Learn: Insights and Provocations For Engaged Learning - Jackson Kytle - Google книги
Some children ask if they can draw the spider. Anticipating this request, the teachers tear off a long sheet of butcher paper and the children sprawl out on the floor and begin to trace the shadow. Although investigations often begin with children representing what they know through drawing, creating three-dimensional artwork is highly valued by teachers as a way to extend the learning.
Clay, wire, wood, and recycled materials are used daily in the classrooms and the atelier to help children express what they know.
- Descartes: A Guide for the Perplexed (Guides For The Perplexed).
- Energy Efficient Data Centers: Third International Workshop, E2DC 2014, Cambridge, UK, June 10, 2014, Revised Selected Papers.
- Arabic-English Dictionary: The Hans Wehr Dictionary of Modern Written Arabic (English and Arabic Edition).
As such, we ensure that the classrooms have many different kinds of materials that help the children piece it all together. Materials such as masking tape, packaging tape, wire, clay, and various kinds of glues and adhesives are available at easy access to the children. Again, we steer away from prepackaged materials. Instead we use open-ended, recycled materials, which are often donated by the parents.
1. Provocation is a starting point
Children learn how to glue, cut, fold, tear, balance, and solve problems in the context of project work. One good reason for using provocations is that the current state of the world IS in itself a provocation! Having established a need and demand, a new course should be built on learning outcomes.
Provoke me if you want me to learn Ewan McIntosh Provocation is a key starting point of the Austrian Green Pedagogy model and can be difficult to understand. What is Po?