|
Stage 3 Program and planning
References and additional resources
Introductions
Rap point 1
Rap point 2
Rap point 3
Rap wrap up
Credits
Using ICT capabilities in teaching and learning
This rap assists Stage 3 students in the development of their ability to: use ICT to locate, access, evaluate, manipulate, create, store and retrieve information
This book rap becomes live in Term 3, Week 1: week beginning 18 July 2005.
Participating groups and teachers subscribe to the book rap and the concurrent teachers’ supporting rap during this week.
Program and planning for introductions
Term 3, Week 2: week beginning 25 July 2005
Class or group introductory messages are sent and read. Participating schools can be located on Rap maps in response to introductory messages.
Focus outcome: Learning about reading – context and text
|
| RS3.7 |
Critically analyses techniques used by writers to create certain effects, to use language creatively, to position the reader in various ways and to construct different interpretations of experience. |
| Linked outcome: Learning to read – reading and viewing texts |
| RS3.5 |
Reads independently an extensive rangeof texts with increasing content demands and responds to themes and issues.
|
| Syllabus content |
Possible sequence of teaching activities |
Learning about reading – context and text
Discuss with students how the structure of a particular text type being read relates to its purpose and how readers can use their knowledge of text organisation to predict and extract meaning from texts.
Learning to read – reading and viewing texts
Students will be provided with opportunities to: select, read, interpret and use a wide variety of material with increasing autonomy.
Learning to write – producing texts
WS3.9 Produces a wide range of well-structured and well-presented literary and factual texts for a wide variety of purposes and audiences using increasingly challenging topics, ideas, issues and written language features.
- contributes to joint text construction activity
- uses topic sentences to guide readers
- writes letters to more distant contacts
|
In order to construct a whole class introductory email, discuss the purpose of this introductory email, and its audience. Discuss appropriate voice, modality, greeting and signature and email etiquette, the need for accurate subject etc. Construct a joint message of introduction. The email message would include the school’s name, location, size of group and any other interesting features of the school or class. Discuss the effects desired by this email message and how this might be achieved.
Access and discuss email introductions from other rappers and locate these schools on the Rap maps
Read and enjoy the short listed picture books as itemised above.
If time available, complete optional activities.
Make entries in Rap journal
Teachers subscribe to, and introduce themselves to the Teacher rap.
|
Rap prerequisites:
- During this first week rappers send a short introductory message about their class or group and give some information about their school and its location. Students discuss other rappers’ introductory messages, and discuss the effects they wish to create in their own introductory message.
- After reading other schools’ introductions, rappers locate schools on their Rap map
- Read and enjoy as many of the six texts as possible in the short listed Picture book section of the 2005 CBCA. These six books are the focus of this book rap, although it is not necessary to have access to the complete set, to participate.
- Having subscribed to the teacher’s rap, teachers also send a message introducing themselves, describing their circumstances and expectations to the teacher’s rap during this week
The six books which form the focus of this Book Week book rap are:
BAKER, Jeannie (2004) Belonging, Walker. SCIS 1177671, reviewed Scan 24(1)
 |
Cover illustration by
Jeannie Baker
Cover reproduced with kind permission of Walker Books
Do not reproduce |
|
Cover illustration by Roland Harvey and Sandra Nobes
Cover reproduced with kind permission of Allen & Unwin
Do not reproduce |
KING, Stephen Michael (2004) Mutt Dog!, Scholastic. SCIS 1189562, reviewed Scan 24(2)
|
Cover illustration by Stephen Michael King
Cover reproduced with kind permission of Scholastic Press
Do not reproduce
|
|
Cover illustration by
Susannah Low & Deborah Brash
Cover reproduced with kind permission of Penguin Group
Do not reproduce
|
MILLER, David (2003) Refugees, Lothian. SCIS 1162620, reviewed Scan 23(4)
|
Cover illustration by
Ranya Langenfelds
Cover reproduced with kind permission of Lothian
Do not reproduce
|
ORMEROD, Jan (2004) Lizzie nonsense, Little Hare. SCIS 1162620, reviewed Scan 24(2).
 |
Cover illustration by
Kerry Klinner
Cover reproduced with kind permission of Little Hare Books
Do not reproduce
|
- Visit the official Children’s Book Council of Australia web site and discuss book categories and the process of short listing books. If desired, read reviews of short listed books.
- Investigate biographical background of authors and illustrators of the six Picture Book of the Year books. Visit author and illustrator sites for background information.
- Commence Rap journal writing.
Program and planning for Rap point 1
Term 3, Week 3: week beginning 1 August 2005
Rap point 1
Characters in these short listed picture books experience inward and outward journeys. Examine a character’s entire journey, or a special event within that journey, and design a token the character might keep as a reminder of this event.
- Send an email to the rap, giving a detailed description of your creation, explaining why this would be a fitting memento or souvenir for your character.
- Label a scanned image, or a digital photo of your design, and send it to the book rap web site, so rappers can match your written description with the visual image.
Focus outcome: Learning to write – producing texts
|
| WS3.9 |
Produces a wide range of well-structured and well-presented literary and factual texts for a wide variety of purposes and audiences using increasingly challenging topics, ideas, issues and written language features. |
| Linked outcome: Learning to read – reading and viewing texts |
| RS3.5 |
Reads independently an extensive range of texts with increasing content demands and responds to themes and issues. |
| Linked outcome: Learning about reading – language structures and features |
| RS3.8 |
Identifies the text structure of a wide range of more complex text types and discusses how characteristic grammatical features work to influence readers’ and viewers’ understanding of texts. |
Syllabus content |
Possible sequence of teaching activities |
Learning to read – reading and viewing texts
RS3.5 Reads independently an extensive range of texts with increasing content demands and responds to themes and issues.
- interprets a variety of literary and factual texts (p. 29)
- identifies and interprets ideas, themes and issues in literary texts (p. 29)
- reads texts demanding a degree of technicality and abstraction (p.29)
Learning about reading – context and text
RS3.7 Critically analyses techniques used by writers to create certain effects, to use language creatively, to position the reader in various ways and to construct different interpretations of experience.
- justifies own preferences for a particular interpretation of a text, referring to text details and own knowledge and experience
- discusses how people from different sociocultural or minority groups or people in particular roles are represented in texts and whether these representations are accurate, fair, stereotypical
- justifies opinions about the motives and feelings of characters in literary texts
- considers events in a text from each character’s point of view
RS3.8 Learning about reading – language structures and features
Identifies the text structure of a wide range of more complex text types and discusses how characteristic grammatical features work to influence readers’ and viewers’ understanding of texts.
- identifies different features of descriptive texts
RS3.9 Learning to write – producing texts
Produces a wide range of well-structured and well-presented literary and factual texts for a wide variety of purposes and audiences using increasingly challenging topics, ideas, issues and written language features.
- plans writing through discussion with others and by making notes, lists or drawing diagrams (p. 37)
- contributes to joint construction activities (p. 37)
- writes detailed descriptions, using imagery (p. 37)
- uses topic sentences to guide readers and demonstrates clear links within the text (p. 37)
- works with different text types (p. 37)
|
1 Discuss with students the concept of journey; outward/ physical, and inward/ metaphysical. Include as relevant:
- outward physical journeys: Are we there yet?, At the beach: postcards from Crabby Spit, Mutt Dog! (journeys to the new home in the country), Refugees (animal journeys, flying to other physical places).
- inward journeys: life and growing up can be seen as an inward journey, (Belonging) imaginative journeys (Lizzie nonsense)
- combination of inward and outward journeys (physical journey that brings inward movement and change of perception)
Mutt Dog , his physical journey to a new living space and the parallel change/ journey in his approach to life, his changes in perceptions and priorities e.g. not being driven to find food each day.
Are we there yet?, changes in the family’s perception of themselves and their country/environment by end of the book, and the physical journey that brought about this inward change.
Lizzie nonsense, Lizzie has imaginary journeys, yet they dress for a physical journey to a church which is imaginary, and their father travels on a physical journey and returns in real life.
At the beach: postcards from Crabby Spit, physical journey to Crabby Spit. Was there an inward journey, with a sense of community developed by the end of the book?
2 Choose one book and create a story map (Rap sheet 1 may help) detailing significant events. This step will serve to focus key elements which could be represented in a token or souvenir.
3 Select one significant or pivotal event which can be represented in a token. This significant event may be a turning point which changed the character or the circumstances.
4 Bring in and discuss how traditional souvenirs represent particular places, e.g. what shapes and forms can holiday souvenirs take? What other items have students kept as tokens of an important event or memory, e.g. concert tickets, special toys?
5 Discuss how the significant or pivotal event chosen in the picture book could be represented in an object, that reflects the character and the context of the event. The item does not need to appear in the text. Itemise aspects from the book which could/should be represented in the final memento.
6 Discuss how to represent these important aspects symbolically e.g. place; (what object(s) would suggest this place), emotions, and people involved.
7 Invite students invited to design a symbol or memento for that event, either individually, in small groups, or as a whole class. Rap sheet 2 may be a starting point for this step.
8 Have students create their final token, souvenir, or memento.
9 After careful discussion, and allowing students to explain their creations, consider the token or symbol in terms of the timeframe, setting, character’s personality and age, location as depicted in the original text.
10 Discuss the purpose of their written description, (e.g. to describe the features of the token that connect to the text) and the audience (other readers of the book).
11 Identify the structure of their written description and the features they would need to include. Use these ideas to establish criteria for evaluating their writing. For example:
- use of topic sentences
- clear links between paragraphs
- use of imagery such as adjectival phrases and metaphors.
12 Choose one piece of writing, or samples of a few descriptions, to be the group’s response to Rap point 1. Revise and proofread this response and send it to the Rap with the subject line: Rap point 1 from [school’s name].
13 Send an electronic representation of the token designed, by scanning a drawing or taking a digital photo of a 3D object. The file should be suitably labelled and emailed to the rap. [Note: Precise emailing details will be sent at the time of the Rap].
14 Read responses from other rappers, and, compare and contrast other rappers’ tokens. Teachers may also choose to print emailed text descriptions and images from the web site and ask students to match the two, as a reading exercise.
15 Make class or individual entries in Rap journals, detailing reflections on rap learning and processes to this point.
16 Teachers share their experiences of this rap point with colleagues on the Teacher Rap. |
Program and planning for Rap point 2
Term 3, Week 4: week beginning 8th August 2005
Rap point 2
The books we are examining have been short listed for several reasons, including their special illustrations. Choose one picture book and examine the techniques the illustrator has used that make the book so effective. Rap sheet 3 will guide you.)
Identify a technique the illustrator has used frequently. Send a message to the rap explaining this technique and how it has been used so effectively in this book.
Locate other examples of the use of this visual technique (in books, magazines, newspapers, advertisements, billboards or web sites etc) and in your rap message, discuss the effect of its use in other contexts.
The focus of this rap point is visual literacy: the use of images to extract and enhance meaning. Bill Spence, than Principal Education Officer, Literacy, explains the importance of this aspect of literacy.
The focus of this rap point is visual literacy: the use of images to extract and enhance meaning. The following current definitions of visual literacy and visual texts can help us understand these concepts, and what we need to consider for explicit teaching and learning, e.g. when using picture books, so we are developing the visual literacy of our students.
Visual literacy The ability to decode, interpret, create, question, challenge and evaluate texts that communicate with visual images as well as, or rather than, words. Visually literate people can read the intended meaning in a visual text such as an advertisement or a film shot, interpret the purpose and intended meaning, and evaluate the form, structure and features of the text. They can also use images in a creative and appropriate way to express meaning.
Visual texts: Texts in which meaning is shaped and communicated by images rather than words. Visual texts use techniques such as line, shape, space, colour, movement, perspective, angle and juxtaposition to shape meaning. Examples of visual texts include cartoons, billboards, photographs, artworks, webpages and illustrations.
(English Years 7-10 syllabus (2003) Board of Studies NSW, p.83) |
For further information see relevant Visual literacy sites, Resources supporting visual literacy and Background readings.
| Focus outcome: Learning about reading – context and text |
| RS3.7 |
Critically analyses techniques used by writers to create certain effects, to use language creatively, to position the reader in various ways and to construct different interpretations of experience. |
| Linked outcome: Learning to read – reading and viewing texts |
| RS3.5 |
Reads independently an extensive range of texts with increasing content demands and responds to themes and issues. |
Syllabus content |
Possible sequence of teaching activities |
RS3.7 Learning about reading – context and text
Critically analyses techniques used by writers to create certain effects, to use language creatively, to position the reader in various ways and to construct different interpretations of experience.
- recognises reader response expected by the author/illustrator
- recognises that people with special interests and expectations are the target audience for particular texts and that design and advertising as well as content reflect this
- identifies how camera angle, viewer position, colour, size, and shading in a visual text construct meaning
- reports on different interpretation of a text after a group discussion or interviewing
RS3.5 Learning to read – reading and viewing texts
Reads independently an extensive range of texts with increasing content demands and responds to themes and issues.
- comprehends and interprets a wide variety of television programs, videos, multimedia and performances
- interprets a variety of literary and factual texts
- identifies and interprets ideas, themes and issues in literary texts
RS3.7 Learning about reading – context and text
Critically analyses techniques used by writers to create certain effects, to use language creatively, to position the reader in various ways and to construct different interpretations of experience.
- recognises and discusses the purpose of organisational stages of different types of texts
- explains how the structure of a text is related to its purpose
- reports on different interpretations of a text after a group discussion
- explains/discusses possible reasons for people’s varying interpretations of and reactions to a text
- justifies own preferences for a particular interpretation of a text, referring to text details and own knowledge and experience
|
- Model and discuss visual techniques using one of the short listed picture books and Rap sheet 3. (Examples of possible techniques which could be considered in each book, are given at the end of this sequence of teaching activities.*)
- Have students find examples of these visual techniques in other pictures and discuss how these techniques were used to contribute to the book and the reader’s interpretation.
- Students choose another short listed picture book, and complete Rap Sheet 3 independently.
- Students review notes made on Rap Sheet 3, and identify a visual technique that is used on more than one occasion.
- Students discuss the use of this technique in detail, comparing and contrasting its various uses, and noting the effects on them as readers and viewers.
- Giving examples from the text and using their notes on Rap Sheet 3, students jointly construct a response to the first section of Rap point 2, articulating how the use of this technique positions the reader in a certain way and how this might influence readers’ understanding of the text and enhance meaning.
- Discuss how this technique, like all visual techniques, is a choice available to anyone working with visual representations including their own art work, dvertisements, web sites and other media.
- Encourage students to locate examples of this technique in other contexts e.g. television advertisements and billboards and share these with the class group. For each case, discuss the technique and hypothesise as to why the designer chose to use this technique in this context. (use Rap sheet 4 as a scaffold for this step.
- Select one or more examples from those gathered on Rap sheet 4, and construct a joint response to this aspect of Rap point 2, making clear the new context in which this technique was observed, and its effect on the reader. Mention could be made of how this effect is similar, or different, from its effect in the picture book where it was first noted.
- Send the message combing the two aspects of the Rap Point in a well constructed piece of writing, with the subject line: Rap point 2 from <your school’s name>.
Students are encouraged to write reflections of their learning in their Rap journals.
- Teachers, please send a brief message to the Teacher’s rap commenting on your Rap point 2 experiences.
|
* Possible visual techniques worthy of mention
Here are some examples of visual techniques that could be considered in the short listed picture book titles. Obviously there are many others worthy of mention. This is not intended to be a comprehensive list, merely a starting point to begin discussion. It is clear too, that most techniques work in harmony with several others to create the full effect. It would be a shame to allow this scrutiny, needed for Rap point 2, to dissect the whole creation into disconnected elements. It is important that the students understand that the whole is more than the sum of the parts!
Belonging
- Use of objects: windowsill objects depict the age of the child, becoming tokens of that particular age, and demonstrating interests changing through the journey of life. The windowsill itself ages over time, e.g. a tiny knob is broken off a latch but is later replaced.
- Angles and line: the initial pages of angular window frames and sparse details, suggest the dry emptiness of the suburb. As a sense of community develops, individual involvement increases, the scenes change to incorporate more vegetation, and the lines are softened, relieved by the soft shapes of growing vegetation.
- Colour: the cover is quite colour-leached, suggesting the lack of life in this old street. Colours intensify and vary as the book continues, representing the new life that comes to the street and the sense of home that is extended beyond the room in the house to include the neighbours.
*For Rap point 2(b): consider how magazine advertisements use and position objects (even the product being advertised) for certain effects. Films also position objects incidentally to create mood, and setting, or sometimes advertising (e.g. actors drinking Coco-cola with trademark showing).
At the beach: postcards from Crabby Spit
- Camera angle: opening spread takes a bird’s eye view to give an overview, appropriate for the introduction/orientation of a new book. The overview represents a map, suggesting a journey. The camera view changes to horizontal on the night page, as the group has become cohesive, people are all on the same level, dwarfed by the great heavens above. A sense of community has been developed where the reader is part of the scene and feels included in the activities, and the horizontal camera angle reinforces this.
- Non-verbal behaviour: windy day spread creates the mood and impression of wind by the gestures of characters, their facial expressions, and the sweep of lines across the page. Other instances of non-verbal behaviour of non-identified characters abound throughout the book.
- Colour: Roland Harvey is careful to change the hue of each page to maintain reader interest: beach pages are all slightly different colours, and double page spreads of different aspects are interspersed to avoid monotonous tonings, e.g. treasure trove page, night scene, sea cross-sections, Crabby Spit township, and jetty scene. Colours are not vivid, demonstrating casual, easy summer holidays in a wilting sun.
- Use and position of objects: each picture (except the last page) depicts a community where people interact and cooperate for everyone’s benefit. The characters are often drawn from a distance as their identity is not significant, only their contribution to the overall picture.
*Rap point 2(b): find examples of non-verbal gestures in films, advertisements, or other print materials such as pamphlets which are designed to portray specific messages to the viewer.
Are we there yet?
- Direction: picture size and position is used to great effect to suggest movement e.g. Starting out and On the roadat last have elongated pictures, side views of vehicles and roads suggesting movement and progress. This technique appears on most pages giving a sense of movement and direction, as the journey continues.
- Framing and line: some pictures have indefinite borders, others clear-cut lines, positioning the pictures within the story. Motives like the blue lines through the maps of Australia (e.g. on p.13, 15, 17, 19) enhance the unity of the page subliminally and continue the feeling of motion and movement.
- Colour: the direction and line colours through the maps reflect the environment where the travellers are at this point, reinforcing the changes of scenery and setting throughout the journey.
*Rap point 2(b): consider how advertisements or cartoons use line to suggest direction or movement, and the effect this is intended to have on the viewer.
Refugees
- Setting: portrayed by lush colours of green for vegetation, blues for the natural worlds, and dark, rusty colours, with black for machinery and its effects. The over statement of the setting on each double page builds tension and makes the social issue (and view of the author/illustrator) apparent.
- Use of size and proportion: opening pages have the wildlife dwarfed by lush vegetation and trees, and surrounded by a safe natural habitat. The machinery destroying the habit looms large, accentuating the wildlife’s small size and vulnerability; large is power. The author’s view on this social issue is also clear through the use of size and proportion.
- Light and contrast: extensive use of contrast, plain backgrounds, darkness and light underscore the plight of the ducks e.g. dark hues for accentuating danger and lostness in several double page spreads, pure white background accentuating the ducks hiding from the shooters in the thick reeds, a smaller (size) ultimately helpful truck (moving away from them, not looming over) carrying them to safety on a pure white background.
*Rap point 2(b): consider how settings are over represented, exaggerated through size of objects and simplified colours in other contexts e.g. advertisements, artistic works, picture books.
Mutt Dog!
- Colour: opening pages of the city are using predominantly greys and blues with the light, like a spotlight, on the aspects showing human kindness e.g. feeding birds and a human carrying a cat. A double page spread later in the book uses dark grey colours and sweeping lines to suggest everyone travelling fast on their journey, disinterested in others, separate and indifferent to the plights of others. The warm yellow light is a world away, inside and removed from the problems of those outside. Colours in the last few pages are bright, in contrast, warm colours (by the fire) and full of fun.
- Objects and symbols: opening page of city, emphasises people’s indifference with helmets and muffs over faces to symbolise isolation, self-observation, seeing life through a shield, and separateness. At the half way house, warm food, with friendly curls of smoke show a warmer aspect of human nature; colour, objects and symbols are used to highlight one of the main social issues in the book.
- Non-verbal gestures: the scruffy dog looking up hopefully at the stairs of the half way house, hunched shoulders on those needing help inside the half way house, gestures of care with hands on the shoulders by the lady helping. The smile as she is licked by the dog, and her kneeling down to Mutt Dog, getting in touch with him on his level, showing care. Mutt Dog’s slumped shoulders, showing loss of hope as he was sent on his way.
- Size of pictures: on each page varies: several smaller ones indicating sequence, speed and separateness. Pictures vary in size depending on the events, the focus needed, and this variation keeps the reader interested. The full size page picture of Mutt Dog having his first bath shows warmth, care, and symbolically the washing off of the old life. The book likewise finishes with a full bright colourful page, at dog level depicting a happy family scene.
*Rap point 2(b): look for examples of the use of colour to create mood in other contexts e.g. mood, distance, happy families, etc.
Lizzie nonsense
- Lighting and contrast: opening orientation page uses bright contrast to elicit space and isolation, to set the scene strongly. This opening spread makes subsequent pages seem more intimate, as the more gentle colours and closeness of each following page echo the closeness of the human relationships. The journey starts, as does the book, with the wide-open setting. The issue of isolation is suggested from the beginning.
- Camera angle and eye contact: Lizzie’s open face and direct eye contact on the cover make direct links with the reader. This close eye contact occurs several times, e.g. the cameo effect of the baby, Lizzie looking out at the washing line, and the close up of the faces when approaching sounds are heard, bringing the reader ‘up-close and personal’ with the emotions of the characters. Although the mother’s words may seem dismissive or harsh, the softness in her facial expressions seen in close-up, suggest love.
- Setting and colour: the use of pale, speckled, sun-filtered colours, portray a time difference, and are reminiscent of the sepia toning found in old photos. These elements continually remind readers that this book is set in the past. The soft lines also reflect the imaginative world of Lizzie, the light, froth-and-bubble illustrations of the baby, reinforce closeness and fun and the gentleness of the relationships, despite the harsh pioneering bush life.
*Rap point 2(b): how are close-ups of the face used in other contexts to emphasise emotions, and draw the viewer in e.g. television advertisements, banners on web pages etc.
Program and planning for Rap point 3
Term 3, Week 5: week beginning 15th August 2005
Rap point 3
Identify a social issue* which appears in a short listed picture book of your choice. Explain the issue and how it is treated in this particular book.
Investigate this issue in your own community, and most importantly, tell us what is being done, by whom, to help.
*‘Social issue’ for our purposes, could be defined as: issues and actions that promote and enhance the dignity and well-being of humans, animals and the environment in that society.
| Focus outcome: Learning to read – reading and viewing texts |
| RS3.5 |
Reads independently an extensive range of texts with increasing content demands and responds to themes and issues. |
| Linked outcome: Learning about reading – skills and strategies |
| RS3.6 |
Uses a comprehensive range of skills and strategies appropriate to the type of text being read. |
| Linked outcome: Learning about reading – context and text |
| RS3.7 |
Critically analyses techniques used by writers to create certain effects, to use language creatively, to position the reader in various ways and to construct different interpretations of experiences. |
| Linked outcome: Learning to write – producing texts |
| WS3.9 |
Produces a wide range of well-structured and well-presented literary and factual texts for a wide variety of purposes and audiences using increasingly challenging topics, ideas, issues and written language features. |
Syllabus content |
Possible sequence of teaching activities |
RS3.5 Reads independently an extensive range of texts with increasing content demands and responds to themes and issues.
- interprets a variety of literary and factual texts
- reads texts demanding a degree of technicality and abstraction
- identifies and interprets ideas, themes and issues in literary texts
RS3.7 Critically analyses techniques used by writers to create certain effects, to use language creatively, to position the reader in various ways and to construct different interpretations of experiences.
- identifies typical structures used in different text types, such as narrative and exposition
- recognises and discusses the purpose of organisational stages of different types of text
- recognises reader response expected by the author
- justifies opinions about the motives and feelings of characters in literary texts
RS3.6 Uses a comprehensive range of skills and strategies appropriate to the type of text being read.
- uses several strategies for finding information in texts e.g. scanning for specific information
- identifies and locates resources e.g. through searches, pamphlets and newspapers, Internet
- identifies a research topic and selects relevant and accurate information
- summarises key information
WS3.9 Produces a wide range of well-structured and well-presented literary and factual texts for a wide variety of purposes and audiences using increasingly challenging topics, ideas, issues and written language features.
- when necessary, records information from a variety of sources before writing
- uses a variety of drafting techniques
- plans writing through discussion with others and by making notes, lists
- contributes to joint text construction activities
- writes texts that include technical and abstract vocabulary
- undertakes research to extend knowledge of subject matter.
|
- Discuss the phrase, social issue, and the definition given at the bottom of Rap point 3. Define terms and/or develop this concept through discussions of current affairs, newspaper articles, news items and local issues. Define the meaning of the word social as in society/ community.
- Select a suitable title from the short-listed picture books, or alternatively, divide the six books between groups of students for group study.
Teachers may like to consult the list of issues identified in the short listed picture books. The list is located at the end of these program and planning sheets for Rap point 3.
Re-read the book(s) and using Rap sheet 5 if necessary, list all the social issues which appear in the text(s).
- After discussion with students, select one particular issue to examine more closely. (Teachers may guide the choice of this issue to ensure a suitable selection is made which can be applied to the second part of Rap point 3, in their local area).
- Using Rap sheet 6 as a scaffold, discuss this issue in more detail, looking at all references to this issue in the book. Discuss how this issue is treated by the author and illustrator, referring to visual literacy techniques, and use of language to position the reader in a particular way.
Draft a group response to the first part of Rap point 3.
- Discuss how, where and when this issue referred to in the book, appears in your local community. Depending on the issue chosen, the community investigated could be the local school neighbourhood, neighbourhoods represented by students in the class, local council areas, towns or municipal shires, or Australia as a whole.
- Using appropriate searching techniques, consult information sources including local and city newspapers, telephone books for organisations and local experts, local library material, environmental information sources e.g. billboards, letterbox drops etc. to gain information about the issue in your area. Use Rap sheet 7 as a scaffold, if necessary. A visit from an expert may be arranged, phone calls made, or Internet searches conducted to locate as much information as possible
- Compile this information into an appropriate text to respond to the second part of Rap point 3. Together draft, write and rewrite the combined responses from parts 1 and 2, to construct a meaningful and informative response, worthy of Stage 3 students.
- Send this message to the rap, informing other rappers about the investigated issue.
- Students record their learning in the Rap journals.
- Teachers please send a brief message about your experiences during this rap point.
|
Possible social issues
Here are some social issues I have identified in the short listed picture book titles. Obviously there may be others. This is not intended to be a comprehensive list.
Belonging:
- beautifying the environment from a small beginning (See Magpies, July 2004 p.4 and 5)
- replanting native flora
- restoring a balance between natural and build elements in a city environment
- restoring old buildings and habitats
- developing a sense of community in the local street or neighbourhood, through community participation to enhance local environment. Reclaim the street
- reducing street traffic, creating malls and car-free, safe places
- resisting uniformity, and reclaiming local (even Australian) character
- volunteer work contributing to a community enhancement
- honouring the land
- graffiti, its effect and a response
At the beach: postcards from Crabby Spit
- road crossing for animals (p. 1)
- life savers; volunteers to help community (p. 3)
- pets unsupervised, or strays (p. 5)
- cleaning up environment, picking up rubbish when not asked, to keep environment an attractive place to live (p. 7, p.18)
- sunsafe health care (p. 15)
- new arrivals to Australia and lifestyle or poverty (p. 15)
Are we there yet? (social issues are less overt in this book, and characters seem to behave in an ethically responsible manner. If this book is examined, it might be helpful to discuss which of the characters’ actions were socially responsible, and perhaps, how they knew to act in this way i.e. publicity about Indigenous ways, safe environmental tourism, etc.)
- reference to the beauty of whales (p. 6); they have been preserved
- tame wild life, quokkas (p. 7), dolphins (p. 9) that have not been mistreated to be frightened of human contact
- eco tourism e.g. walking around Uluru, (use of Indigenous name p.14) not climbing it, rainforest trip
- respecting traditional owners and traditions, learning from them (p. 13, p. 18)
- extinct animals (Tasmanian tiger p. 28); and extinction prevention
- traffic noise in the city (p. 30)
Refugees
- water conservation; saving a precious resource
- destroying natural and native flora/fauna habitats
- human disregard for animal and plant environment, in the name of progress
- homeless wild animals
- shooting wildlife for human recreation
- refugees; the trauma of trying to find a place to call home; the ducks are a metaphor for human refugees, especially as the cover shows the ducks as ‘boat people’.
Mutt Dog!
- homeless, stray domestic animals
- shelters, half-way houses for people in need; providing for those without other hope (depicted in the pictures)
- need for human and animal shelters; a place to call home.
- shelters for animals in need
- people who belonged to no one
- hunger; animals, people
- caring for/treatment of animal strays
- re-homing of stray animals
Lizzie nonsense
- rural isolation
- fathers away from home for long time e.g. sailors, oil rig workers, peace keeping forces
- respect for wildlife, despite dangers (chasing snake out, not killing it)
- rural/home dangers
- childhood entertainment opportunities.
Program and planning for Rap wrap up
Term 3, Week 6: week beginning 22nd August 2005
| Focus outcome: Learning about reading – context and text |
| RS3.7 |
Critically analyses techniques used by writers to create certain effects, to use language creatively, to position the reader in various ways, and to construct different interpretations of experience |
| Linked outcome: Learning to read – reading and viewing texts |
| RS3.5 |
Reads independently an extensive range of texts with increasing content demands and responds to themes and issues. |
| Linked outcome: Learning to write – producing texts |
| WS3.9 |
Produces a wide range of well-structured and well-presented literary and factual texts for a wide variety of purposes and audiences using increasingly challenging topics, ideas, issues and written language features. |
During this rap we have looked closely at the books short-listed for this year’s Children's Book Council of Australia Picture Book of the Year. We have viewed the texts as representative of a journey, inward or outward, examined how illustrations and visual techniques enhance meaning and position us as readers, and investigated examples of one visual technique in another context. We have also explored social issues referred to in these short-listed books, and made connections with a particular issue in our local communities. This has been quite an undertaking! Well done for getting this far!
It is now time to reflect on our learning during the past six weeks. The Rap wrap up focus question assists you to do this.
Rap wrap up focus question: What has been the highlight of this book rap for you and your class? What skills or insights have you learned during this rap that you would like to tell others about? How has participating in this rap changed you, enlarged your understanding of texts and widened your world view?
Post your final group response to the rap as a short comment once the teacher has approved the final message. You would be a great idea to pay tribute to the work of other rappers and thank them for new insights you have gained from their responses.
Syllabus content |
Possible sequence of teaching activities |
Learning about reading – context and text
RS3.7 Critically analyses techniques used by writers to create certain effects, to use language creatively, to position the reader in various ways, and to construct different interpretations of experience.
Learning to write – producing texts
WS3.9 Produces a wide range of well-structured and well-presented literary and factual texts for a wide variety of purposes and audiences using increasingly challenging topics, ideas, issues and written language features.
|
- Students reflect on their understanding of the books before the book rap, and brainstorm all they have learnt by participating. Students consult their Rap journals.
- Students brainstorm skills and concepts they have been introduced to and/or developed in the context of this book rap. Students check their Rap journals.
- Together students share insights gained through their own investigations and those they have learnt by reading other rappers’ responses. Revisit stored email messages or the archives if necessary.
- Students reflect on the highlights for them individually, and then as a group, of participating in this book rap.
- Construct a joint response to the Rap wrap up question and post it to the rap.
- Read others rappers’ reflections and respect their opinions.
Teachers may wish to reflect on how well particular learning outcomes in the program and planning have been met, and post their thoughts on this, and other aspects of the rap to the teacher support rap.
Thank you for your participation.
|
|
