Creative Voice3: Dan Lea

Bridges in the garden.

2011-01-21T12:47:00.001Z

Bridges. on PhotoPeach name="allowscriptaccess" value="always"/></object>

Books for Breakdfast will be on Thursday this week, 20th January

2011-01-17T12:07:00.001Z

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Merry Christmas and a Happy New Year!

2010-12-23T19:44:00.001Z

the paper garden

2010-12-23T19:41:00.001Z

-----Original Message-----
From: KAREN MCLEAN <karendmclean@yahoo.co.uk>
To: Leafamily2005@aol.com
Sent: Wed, 15 Dec 2010 21:41
Subject: Fw: the paper garden

--- On Sun, 24/1/10, KAREN MCLEAN <karendmclean@yahoo.co.uk> wrote:

From: KAREN MCLEAN <karendmclean@yahoo.co.uk>
Subject: the paper garden
To: "dan" <Leafamily2005@aol.com>
Date: Sunday, 24 January, 2010, 19:36

I had a great time last week .Thanks

Here are some photos I took.Sorry for some reason I was unable to send the folder. There is a phot of the boy writing his football report!

I have some video of children making up a story. I will send that with another message.

Cheers

karen McLean (Wanstead.Church.School)

Jack and the Beanstalk 2010. Well done Year Twos, great shows.

2010-12-10T16:39:00.002Z

Jack and the Beanstalk 2010 on PhotoPeach

Video: Gruff.

2010-12-09T12:39:00.001Z

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A Poem: The Snow Queen, Part One.

2010-12-03T12:34:00.001Z

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snow queen.wmv (1455 KB)

The Snow Queen Part Three.

2010-12-01T18:17:00.001Z

The Snow Queen Part 3 by Storynory
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snowqueen3.mp3 (18161 KB)

The Snow Queen Part Two

2010-12-01T18:15:00.001Z

The Snow Queen Part Two by Storynory
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snowqueen2.mp3 (21297 KB)

The Snow Queen, Part One

2010-12-01T18:13:00.001Z

The Snow Queen by Storynory
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SnowQueen1.mp3 (17337 KB)

The Snow Queen: Mini Project.

2010-11-30T10:17:00.001Z

The Snow Queen.

The Snow Queen (Danish: Sneedronningen) is a fairy tale by author Hans Christian Andersen (1805–1875). The tale was first published in 1845, and centers on the struggle between good and evil as experienced by a little boy and girl, Kai and Gerda.

We have downloaded the tale in three parts, as MP3 files. Please enjoy this tale with your children.
If we are only closed today, then make the most of the snow, if we remain closed and the weather gets worse perhaps create your own Snow Queen Project at home. This could invovle you building a snow queen in the garden, freezing colourful leaves in pools of ice, writing your own Snow Queen Story, painting and drawing illustartions to accompany the sound files, or just simply enjoying the story with a hot cup of chocolate while looking at the window at the snow falling down. Whatever you do, enjoy and bring the projects into school for us to see and display.
Remember, regular updates on the school will be posted on our website, fronter and blog.

Snow Closure Day Project

2010-11-30T10:07:00.001Z

The Snow Queen.

The Snow Queen (Danish: Sneedronningen) is a fairy tale by author Hans Christian Andersen (1805–1875). The tale was first published in 1845, and centers on the struggle between good and evil as experienced by a little boy and girl, Kai and Gerda.

We have downloaded the tale in three parts, as MP3 files. Please enjoy this tale with your children.

If we are only closed today, then make the most of the snow, if we remain closed and the weather gets worse perhaps create your own Snow Queen Project at home. This could invovle you building a snow queen in the garden, freezing colourful leaves in pools of ice, writing your own Snow Queen Story, painting and drawing illustartions to accompany the sound files, or just simply enjoying the story with a hot cup of chocolate while looking at the window at the snow falling down. Whatever you do, enjoy and bring the projects into school for us to see and display.

Remember, regular updates on the school will be posted on our website, fronter and blog.

The Importance of Outdoor Learning.

2010-11-27T10:57:00.001Z

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MOV051.3gp (14589 KB)

We strongly believe that while situated in an urban environment, we can still provide our children the "space" to learn outdoors. We hope to continue developing our learning garden, providing the children with a space to pursue self chosen interests and skills.A space in which their ideas and creations can be seen and valued throughout, a space in which childhoodd is "celebrated".

As the winter sets in a new range of exciting and stimulating opportunities will open up to us, the exploration of frost, ice and snow, the considerations of how we can support the birds who visit our garden and opportunities for us to continue building and creating exciting investigations. Please help us celebrate the winter and the wide range of learning opportunities it provides by ensuring that your children have hats, gloves, warm coats and suitable shoes for enjoying the garden at this time of the year.

Thank you.

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A Guide to Class V's Fronter Site.

2010-11-26T10:37:00.001Z

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Class V: Our Fronter Room

2010-11-26T10:33:00.001Z

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Class V's Fronter Room

2010-11-26T08:56:00.001Z

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BIG DRAW

2010-11-25T21:16:00.001Z

Charles Leadbeater: Education innovation in the slums

2010-11-25T20:57:00.001Z

Gever Tulley discussing Tinkering School Philosophy

2010-11-25T20:52:00.002Z

Fairies in our Garden.

2010-11-12T12:46:00.000Z

An old fishing rod off ebay for a fiver, the kids own dolls, butterfly wing patterns from google images, laminated, job done. A great new resource for stimulating creative play.

2010-11-08T18:13:00.000Z

Losing his first tooth from Gary Cope on Vimeo.

The legend of the tooth fairy is about a fairy that gives a child money and gifts in exchange for a baby tooth that has fallen out. Children typically place the tooth under their pillow at night. The fairy is said to take the tooth from under the pillow and replace it with money once they have fallen asleep

Found this video of Nic and his Dad, Gary Cope, sharing a lovely bedtine chat. Love the dialogue between father and son.

Tooth tradition is present in Western cultures under different names. A Ratón Pérez appeared in the tale of the Vain Little Mouse. The Ratoncito Pérez was used by Colgate marketing in Venezuela and Spain. In Italy, the Tooth Fairy (Fatina) is also often replaced by a small mouse (topino). In France, this character is called La Petite Souris ("The Little Mouse"). From parts of lowland Scotland comes a tradition similar to the fairy mouse: a white fairy rat who purchases the teeth with coins.

In some Asian countries, such as India, Korea and Vietnam, when a child loses a tooth the usual custom is that he or she should throw it onto the roof if it came from the lower jaw, or into the space beneath the floor if it came from the upper jaw. While doing this, the child shouts a request for the tooth to be replaced with the tooth of a mouse. This tradition is based on the fact that the teeth of mice grow for their entire lives, a characteristic of all rodents. In Japan, a different variation calls for lost upper teeth to be thrown straight down to the ground and lower teeth straight up into the air; the idea is that incoming teeth will grow in straight.

The tradition of throwing a baby tooth up into the sky to the sun or to Allah and asking for a better tooth to replace it is common in Arabic countries (including Iraq, Jordan, Palestine, Egypt and Sudan). It may originate in a pre-Islamic offering to the sun god Shamash and certainly dates back to at least the 13th century, when Izz bin Hibat Allah Al Hadid mentions it.

In parts of India, young children offer their discarded baby teeth to the sun, sometimes wrapped in a tiny rag of cotton turf.

Sir Ken Robinson on changing education paradigms.

2010-10-29T19:22:00.002+01:00

THE GARDEN...its growing...

2010-10-27T20:50:00.000+01:00

Zero G's

2010-10-21T22:54:00.000+01:00

Becoming an agent of change, while balancing the demands of being a class based teacher. Conclusion of the study.

2010-10-21T21:37:00.000+01:00

Action Points and Conclusion.

Margaret.S. Barrett and Sandra, L Stauffer, (2009) observe that,

“Narrative enquiry, specifically when developed in music education, provides a methodology through which, “Troubling certainty” can be successfully explored, challenging practitioners who look towards achieving, “Sympathetic vibration.”

“Troubling certainty” is the term used to describe a research project that looks to study educational practice through listening to the stories of those involved in the process. A study and resulting action driven from data that relates not to obvious and measurable figures of attainment and achievement, but the listening of stories.

“Troubling certainty” being defined as the process in which a practitioner can,

“Listen to stories, listen for stories and listen in and through stories to find meaning…to prompt a further consideration of how the stories can impact on moving the music curriculum”

“Sympathetic vibration,” is the situation where by practitioners look to simply agree with each other, create a consensus or shared compromised view of a possible solution to a need.

It was my intention to construct a study that, as identified by Maxine Greene, (1995),

“Prompts educators to look beyond the familiar, to attend to the tensions that underline the surface of experience…a teacher open to the mystery, open to wonder (provided by narrative enquiry into music education) is the one who can light the slow fuse of possibility, even for the defeated ones and see the world through other experiences and move towards an understanding of what we can do to enhance practice.”

The Narrative Enquiry extracts analysed in this study provided the “instances” as defined by Judith Bell, (2005, p. 27) that look beyond the familiar and have supported my understanding of possible conclusions to the researches key questions.

A discussion of the researches questions in relation to the findings of the research.

Analysis of the narrative enquiries extracts, prompted a more detailed understanding of the concepts of, “Learning in Context and Slow Knowing”, P. Berkowitz, (2004) and how these two approaches to developing leadership may provide answers to the studies key questions. However, it is my opinion that if the rich pieces of learning experienced by the children during the GAS project are going to continue to evolve into a piece of Learning in Context or Slow Knowing journey, stimulating an innovative and sustainable curriculum change, then a structure in which this can happen, must first be created. A structure that will allow me to lead the continuing enquiry from my position as a class based teacher, to disseminate the responsibility of being an agent of change across the school community.

It was my view that the model of “The Inside Out Leader” presented by Will Ryan, (2008) may have provided an answer to the key questions of this study. I now believe that this model alone is insufficient. My main reason for this change of view is that throughout Will Ryan’s outlining of the characteristics of, “The Inside Out Leader” a reference to the leaders belief of success, the need for the leader to almost assume that they will be successful, contradicts what I have understood about processes relating to the ability to learn in context and lead change management. As Perry Berkowitz (2004) simply puts it,

“Be weary of the leader who is sure of their success.”

While Fullan, (1992), states that

“It is not possible to have school improvement without change, but while recognising this he also observes that it is possible to introduce change without the desired improvements… …Most changes fail to deliver the expected outcomes.”

While criticising Will Ryan’s concept, it is my opinion that the final stage of the, “Inside Out” Leaders journey, the step in which the leader looks to actively engage other members of the school community, identifying an expert group of practitioners capable of modelling the desired change, provides a model that shares some of the principles of, “Slow Knowing” and “Learning in Context”.

In Will Ryan’s fourth step in the, “Inside Out” Leaders journey, the leader of the change looks to create a learning community, to recruit practitioners in engaging on a program of “in context professional development”, to engage in peer discussions, a sharing of knowledge, to coach and mentor each other, self review and then display excellence in modelling the purpose and practices associated with the desired change. These identified processes can also be clearly identified in the characteristics of the leader who is engaged in a “Learning in Context” and “Slow Knowing” P. Berkowitz, (2004) processes connected to leading on curriculum change.

It is my opinion, that a possible answer to the researches key questions can be developed by combining the behaviours of a leader engaged in the processes of Learning in Context and Slow Knowing Leadership methodologies outlined by Berkowitz, (2004) with Will Ryan’s identified need to create a learning community to actively model expertise in the desired change. It is my opinion that this can be achieved by creating a Learning Community in our school that specifically looks to continue The Gas Projects learning journey.

It is my view that the creation of a Learning Community would provide a context that would allow me to effectively balance the openness of the learning journey, while at the same time providing an environment that would allow me to redevelop my abilities to effectively share the purpose and intended impacts of the project to a wider audience, with the projects identified impacts on our children’s learning disseminated by a group of colleagues enthused by the projects moral purpose.

I believe that this implies that as a practitioner the need to effectively develop two action points.

The first action point relates to my personal development as a leader. While I believe that the analysis of the data collected during my narrative enquiry illustrates the importance of placing change management into an environment that supports, Slow Knowing and Learning in context, P. Berkowitz(2004), to achieve this, I believe I need to compliment these two leadership processes by developing my understanding of how as a leader of change you balance the innovation of creating something new with the actual management of the change, a concept I was dismissive of in my literature review, achieving a balance that also allows me to remain a leader of learning that instigates a process of “Revolutionary Change” Field, et al (2000,p74.)

The second action point is the creation of a Learning community committed to sharing the rich pieces of learning experienced by the children during the GAS project, creating a community within our school that models a culture in which all stakeholders feel that they can embrace challenge and not fear change.

A Discussion of the two action points.

Conclusions from a study of professional learning communities in English primary, secondary, nursery and special education schools by Bolam et al. (2005) defined a successful professional learning community as,

“A professional learning community is characterised by the commitment and involvement of all staff in the community, with members feeling collectively responsible for the learning and development of the children, with everyone valued for their experience and expertise… …An inclusive group of people, motivated by a shared learning vision, who support and work with each other, finding ways, inside and outside their immediate community, to enquire on their practice and together learn new and better approaches that will enhance all pupils learning.”

Stoll et al (2006.)

This definition is supported by Taylor (2010). In sharing Taylor’s observations with colleagues during a reading session, we created this piece of collaborative writing:

“An effective learning community is a diverse group of colleagues working together to find a solution to a common goal. Colleagues will share a clearly defined moral purpose. A purpose relating to a defined need. Colleagues collaborating in thinking, discussion, looking for solutions and the supporting of each other to be successful. A collaboration is an empowered community whose learning is based in a research culture. Effective communities share and assist each member of the group in dealing with resistance to change. The community creates a common language, which supports all members in a journey towards a positive change. An effective community seeks to remove the role of Problem solver or model provider looking instead to empower each group member to be accountable to its success.”

Foroese, (2002) further supports this collaboratively created definition, observing that an:

“Effective learning community must follow the fundamental assumptions that its learning will be conducted in a culture of research… …looking at a shared definition of a learning need… …its goal being associated to developing professional growth… …implementing a change driven from a sense of moral purpose.”

The study conducted by Bolam et al. (2005), identified two significant measures of a learning communities effectiveness, the impact on pupil learning and the impact on the morale and practice of the organisation.

While it can be argued that thess identified impacts are drawn from the qualitative research findings and not quantitative data analysis, Newman and Wehlage, 1995, observed that there seemed to be an:

“Arguable relationship between the close cooperation and sharing of responsibility for the children’s learning and an increase understanding of the children’s needs, with learning activities amended by a learning communities collaborations and deeper understanding of how their pupils could experience more achievements.” .

The study by Bolam et al. (2005) raises some key issues to be faced when trying to create a sustainable learning community within an ever increasingly more complex work environment:

“The creation of a learning community in which all members are viewed as equal could instigate conflict or argument with support staff or non teaching members of the community being perceived to be doing the job of the teacher and the role of teacher being diluted.”

The report pointed out that it is more productive to focus on people being professional, rather than being the professional. However, the study identifies no particular model to use in successfully increasing the involvement of other colleagues while balancing this issue. This observation further justifies the need for me to deepen my understanding of which leadership attributes will be most effective in supporting these issues and ensuring the learning community is effective and sustainable.

In returning to a discussion of my first action point, it is my view that this study has deepened my understanding of leadership by identifying an initial naivety in my practice to dismiss the implications of managing the change, in a rush to perform as an innovator of, “Revolutionary Change” Field, et al (2000. p74)

It is my opinion that by developing my understanding of Managerial and Transformational Leadership styles, as outlined by O’Donoghue and Clarke, (2009, pg 57-58) I will be better placed in future projects to ensure that I can effectively communicate the purpose of projects and their desired outcome to colleagues during the early stages of the projects journey, being more successful in balancing the tensions between openness to innovation and a clear communication of the projects intentions. It is my view that this continued learning will provide the professional skills I need to create an effective and sustainable learning community.

It is my opinion that I have overlooked attributes identified by O’Donoghue and Clarke, (2009, pg 57-58) notably the importance of being able to use my authority within school to influence others in a direct way, to utilise my skills in managing interpersonal relationships to present certain changes to the arts curriculum as non negotiable. However, I am aware that such an imposed managerial leadership of change needs to be considered carefully. In support of this view, Perry Berkowitz (2004) observes that,

“Leaders who are too strong or heroic do not build competence and responsibility in their followers…pervasive leadership has a greater likelihood of occurring if leaders work on mastering the five core capacities: moral purpose, understanding the change process, building relationships, creating and sharing knowledge and making coherence…achieving such mastery requires slow knowing and learning in context with others at all levels of the organisation.”

Therefore, it is my view that by learning more about Managerial styles alongside Transformational leadership styles I will be able to develop my ability to perform more effectively without jeopardising any attempts to construct a successful learning community through which slow knowing and learning in context can thrive.

Bush and Glover, (2003) identifies effective Transformational leadership as,

“The ability of a leader to envisage a new social condition and to communicate this vision to followers. The leader inspires and transforms individual followers from higher level of morality that make the promise of reward unnecessary…...seeking to support teachers in understanding the transformation process…enhancing their capability to contribute towards the intended goal.”

In my view, my ability to incorporate effective Transformational leadership attributes into my practice is essential if I am going to effectively lead a learning community and establish a continuing leadership style associated with Learning in context and Slow Knowing.

It is my view that, if I deepen my understanding of the dispositions and attributes identified by Bush and Glover’s, (2003) definition of successful Transformational leadership, my attempts at creating a sustainable learning community will be enhanced by ability to communicate the moral purpose of my intended curriculum change more effectively.

Becoming an agent of change, while balancing the demands of being a class based teacher. Analysis of the study.

2010-10-21T21:36:00.000+01:00

Dr Janette Grey,(1998) recommends that when analysing data collected during a narrative enquiry the researcher, “Should not simply pile stories on top of each other… …the researcher needs to extract the most appropriate parts of the stories shared and analyse in detail the importance of these extracts in relation to the researches focus or theme.”

The narrative enquiry for this research was developed during the evaluation process of The Gas Projects learning journey, conducted as part of the Creative Partnerships Enquiry Programme.

This analysis looks specifically at extracts taken from the narrative enquiry, selected due to their relevance in supporting my understanding of this researches key questions.

The complete document and analysis of the narratives collected can be seen in Appendix Two.

Extracts from Seth’s and Jon’s Stories.

Seth was an adult participating in The GAS Project as a Critical Friend. Seth is an artist and education consultant working for Theatre Bristol and has a background related to managing innovation and change within Arts based curriculums.

Jon was the Artist in Residence during our enquiry and a co founder of GAS.

Seth’s Extract:

The chosen extracts relate to Seth’s response to my question: “How do you engage those practitioners who just don’t get what we are trying to do?”

“Teachers leading a process of change, especially related to The Arts face a constant tension between openness and quality…when starting a creative learning journey anything is possible, the structure or beginning point is completely open, any idea could be a possibility…from this open starting point as a leader you then need to support the enquiry in moving from an idea into a development to a production that results in a end product of high quality, something that will influence and impact upon practice and become sustainable…the challenge for the leader is to balance the openness of the projects development while ensuring its quality… as a leader of creative change you have to make decisions then pull back and observe what happens, without rushing to intervene if the process is not going where you think it should…the further along the creative journey you move the less openness and choices you have… the focus of your enquiry will continuously narrow as a result of the decisions you make… the leader of the project needs to tread a fine line. When to intervene to ensure the quality of the learning is rich and when to become invisible… I think it is much like being a midwife, the project or change has to below to those who need to deliver it, the parents, and as a midwife you need to be there to support. The parents of the change will know that its going to be painful, but necessary, as the midwife you need to offer informed choices, ensure the quality of the projects delivery, by there when support is needed, but also empower the parents to cope when you are not visible. Let me draw you a diagram that I have created to explain this better”

This diagram can be seen in the Appendix Three.

The tensions facing the leader of creative enquiry processes identified in Seth’s extracts, relate significantly to The GAS Projects Journey and my role as its leader. In analysing Seth’s comments and model and comparing them with concepts I have explored in this module, a comparison can be drawn between Seth’s extracts, my own experiences and the leadership methodology of, “Learning in Context” provided by Perry Berkowitz, (2004) in his writing, “Learning the Leadership.”

“Learning in Context” is a process in which allows the leader to, “Model the values and behaviours represented in the change, including moral purpose, emotional intelligence, relationship building, continual learning and knowledge sharing, experimentation and risk taking…the leadership must be learnt over a period of time.”Berkowitz, (2004)

The Gas Project was deliberately created as an innovate enquiry, to follow an organic learning journey from a starting theory, as an extract from a discussion held with Jon, the artist in residence, observes:

“I am sensitive to the fact that the project is in early stages of development; to the aspiration of it developing from the children’s explorations of culture, identity, music and voice…The artist’s role is very much about listening and encouraging.

In an environment like this often the most valuable stuff does not come to order. The artist needs an approach that is organic and will be able to note what can be revisited and be able to work out the strategies to do so. Again flexibility is vital.”

It is my reflection that the early stages of the project demanded that as a leader I needed to identify ways of sharing the projects openness, evolving nature, in a way that would encourage other practitioners to be motivated by the organic nature of its journey. I needed to balance the creating of an environment in which risk taking, shared learning and curiosity dominated the learning processes, while still communicating to others the overall moral purpose of the project. In reflection it is here wear my leadership skills proved less supportive. In reflecting on Seth’s extracts, in the early stages of the project I failed to balance the tensions between sustaining openness with a need to communicate the projects intended impact on the quality of music provision in our school.

This I believe lead to some practitioners not understanding or sharing the moral purpose of the project and therefore not connecting with the, “Revolutionary Change” Field, et al (2000, p74.) I was trying to encourage them to engage in.

This is supported by an Extracts from Jon Story:

“The project changed the perception of teachers, seeing teachers being nervous about singing and advising them on ways to overcome fear and to take risks. People are shy; the project needed a way in which it could be disseminated to our complete community. Ways in which all school stakeholders could engage and contribute towards the journey. People were not confident that they had anything of any value to offer.”

As Morrison, (1998) observes in identifying barriers to change management:

“Fear of the unknown, lack of clarity of purpose, reluctance to let go of the present, threats to expertise and established skills, fear of failure and threat to self esteem.”

In reflection on both Seth and Jon’s extracts, what proved more successful were the moments when as a leader I was able to communicate to others a clearer understanding of the intended impacts of the journey. In the face of some critics and challenging comments by colleagues, it is my view that I rushed to draw conclusions, make amendments and take action less supportive to the projects overall direction. I needed to build what Berkowitz, (2004) terms, “Negative capability” the ability of the change leader to:

“Wait, to remain attentive in the face of incomprehension. Remaining attentive means listening and observing without rushing to draw conclusions, make judgements or take action… to listen attentively, to build key relationships and create knowledge…effective leaders see the bigger picture, they don’t panic when things go wrong in the early stages of a major change initiative…instead of attacking a problem with a quick fix you initiate a gradual process of change.” Berkowitz, (2004)

This analysis is supported by my reflections on moments in the later parts of the journey where my leadership proved more supportive to its evolving success. As The GAS Project progressed through the model identified by Seth in his extract and diagram, my ability as a leader to respond to its learning and generate strategies to develop its narrowing focus improved.

I draw this analysis after reflecting on an extract from Jon’s story:

“…You regularly held open discussions with all school stakeholders and leaders, conveying our message, its original brief and sharing the early successes all ready recorded. This process of transparency, openness to opinions, alternative viewpoints ensured that from this point on we continually made reference back to both the projects designed brief and underpinning enquiry question… during each discussion and review of the project evolving journey we choose to support the briefs original idea and enquiry route by accompanying the ideas we were trying to share with audio sound tracks and demonstrations of how the project was successfully evolving. Early challenges to the nature of the enquiry established a conduct that became very productive in supporting the enquires evolution. The early debates between different stakeholders within the school, honest, open discussion and partnership between stakeholders, from dinner ladies to senior leaders, children’ to parents, set a precedent that would follow throughout the rest of the journey.”

As my, “Negative capability” Berkowitz, (2004) increased and as a leader, its my view that I was operating more in accordance with the qualities outlined by Berkowitz, (2004) in defining the role of the leader in a , “Learning in context” environment. Being able to generate peer discussion, create opportunities for colleagues to share their expertises, share the growing knowledge and most importantly coherently communicate the moral purpose of the projects more refined focus. This had the impact of motivating a key group of practitioners, recruiting them to the project. This created a project environment that allowed this model group of practitioners the opportunity to continue sharing knowledge, develop after action reviews and communicate how the projects leadership aligned to an ethos of, “learning in context” which supported the realisation of the projects purpose.

Jospeh Jaworski (1998) identifies that,

“Leadership is about learning how to shape the future. Leadership exists when people no longer feel victims of circumstances but participate in creating new circumstances. Leadership is about creating new realities.”

It is my view that in the initial stages of The GAS Project I was less successful in sharing the, “learning in context” nature of the enquiry, I was less successful in coherently and consistently sharing an understanding of its moral purpose but focussed more on celebrating its openness to creative enquiry. I failed to clearly define its intended journey which I believed resulted in some colleagues feeling like victims of a change that challenged their established skills.

When performing as a leader, “Learning in Context” I became more patient, trusting of others and more successful in following the attributes required by another complimentary leadership style described by Berkowitz, (2004) as, “Slow Knowing” a style in which the leader thrives to:

“Continually cultivate the capacity to hone one’s moral purpose and knowledge of nonlinear change processes, build relationships with diverse groups, create and share knowledge and strive for coherence.”

“Negative capacity” Berkowitz (2004), is a main identifiable behaviour of the change leader acting within this “Slow Knowing” Berkowitz (2004), model. Once I began to effectively communicate the intentional, “Slow Knowing” Berkowitz (2004), nature of the project, I was able engage others more effectively in creating the desired “new set of circumstances” Jospeh Jaworski (1998) a new set of musical experiences that could impact upon our curriculum provision. This change in approach to leadership, with a clearer communication to colleagues of the “Learning in Context” and “Slow Knowing” Berkowitz (2004), ethos of the project allowed me to balance more effectively the tensions identified in Seth’s extract and perform more aligned to his “Midwife” role in delivering curriculum change.

It is my opinion that following this analysis of Seth’s and Jon’s extracts relating to the generic issues of the projects leadership and journey, a more focussed analysis of story extracts relating to the projects impacts on the children’s learning may provide implications that can compliment such a theoretical discussion and form part of the answer to the studies key questions, especially in relation to the question of how I take the rich pieces of learning experienced by the children during the GAS project and use them to create an innovative and sustainable curriculum change, from the position of being a class based teacher.

Extracts from Nabeela’s Story.

Nabeela is a child participant, learning in year two. It is my view that chronological extracts from Nabeela’s story have provided what Dr Janette Grey, (1998) defines as “data with a sense of power.” extracts from a child’s story, that in my view, have significant implications for us as leaders of learning.

Nabeela’s extracts:

“ That was the first time I has sung to anyone…I normally only sing in my head…when walking down the street or in the playground…I only sing quietly because I was worried about what people would say…When I needed to sing I closed my eyes and just pretended that no one was their…then when I was singing I got more confidence and liked hearing my voice…singing in front of someone else was amazing…because it made me show my feelings…it makes you not shy …When you are in GAS you learn about not being shy…about being confident…This is important because when you are shy you are shy and you don’t share your voice…no one knows what you think because you are to shy to tell them…when I am singing I learnt not to be shy…I learnt to be confident, to stand up and share my ideas.”
Nabeela, aged 7

“When I was first recording I was really worried about what people would think about my singing…that they would say it wasn’t good…I didn’t like my recording…but when other children listened to it and told me how good it was I changed my mind… I changed my mind; I do like my singing record, I am proud of my voice.”
Nabeela and Nikkalia, Aged 7

Nabeela’s extracts made me reflect on the research of David Cleaver, (2009) He defines the purpose of his research as an attempt to, “Set out and illuminate the complexity, depth and uniqueness of individual music meaning and the nature of a particular, “Identity in music”

The implications of his research relate to the themes of this study, that musical experiences provide prime structures for children to engage in personal meaning making and that teachers should be more aware of how music experience is more than just music teaching, the music experiences we provide need to develop sensitivities to the nature of musical identity, how music can help children develop and create a positive self image.

The stories collected in this narrative enquiry and their analysis, Appendix Two, reflect a sharing of the implications identified in David Cleaver’s research. A need for us to look at how we can change our music curriculum to place more of an emphasis on delivering experiences that simply no longer just teach songs or rhythmical patterns, but allow each child an opportunity to use music as a way of developing an understanding of their learner identity.

However, David cleavers’ research is notably conducted with children much older than those in our early years setting. The way in which these extracts can be used to innovate change will need to extend further on from the findings of David Cleaver with respect to how such concepts can be integrated within an early years curriculum.

Davidson, (2002, pg 101-102) observes that the child performing as a singer engages in the learning dispositions associated with, “Introspection, self- containment…the ability to be self-critical as well as the ability to take criticism in order to conquer the challenges of learning” and that, “Music is an agent to sustain these attributes and dispositions.”

This view is supported further by DeNora, (2000. pg 47) who observes that musical experiences appropriated by the individual act as a,

“Response for the ongoing constitution of themselves and their social psychological, physiological and emotional states.”

In my opinion, these extracts from Nabella’s chronological reflection of her engagement in the project provide a real life example, set in an early years environment of the observations made by Cleaver, Davidson and DeNora.

Nabella’s involvement in The GAS Project provided her with a way of monitoring her self image, assessing her own development and enjoying her achievements in finally being able to sing in public.

In analysing the extracts from Nabeela’s story, it is also my opinion that while involved in this ongoing constitution of her self as a developing learner, she displayed many characteristics similar to the Leadership characteristics associated with “Slow Knowing” Berkowitz (2004).

Nabeela’s extracts illustrate the slow learning journey she successfully engaged in as a child, a learner. Nabeela’s story extracts illustrate how as a learner she was able to develop her, “Negative Capability” Berkowitz (2004),her ability to overcome early fears of performing and singing, her ability to challenge herself, evaluate her progress and celebrate her achievements. As a leader of change I need to develop this Negative Capability, like Nabeela, I need to continue being engaged in an intensive learning journey, a “Slow knowing” Berkowitz (2004),journey.

A discussion of the limitations of the study.

Usher, (1992, pg27) identifies how as educators we can often think of story telling as “Unserious, or fictional whereas we have our image and response to “research” is that it is about truth and therefore more serious.”

In reflecting on some of the responses I received when sharing a parts of my narrative enquiry, especially Nabeela’s story, colleagues responses often, in my view, related more to celebrating the “cuteness” of the children being videoed, reactions like those to moments in TV game shows where the children give quirky responses to questions asked by the presenter and the audience softly laugh.

It is my view that some colleagues failed to reflect on the “seriousness” of what the children were actually saying.

A further limitation of the data collected in the narrative enquiry is that I failed to collect a story from a colleague who did not engage with the project. This would have been useful in deepen my analysis and when developing a similar approach to another project, I shall ensure that I successfully record a narrative from those less inclined to share in the researches themes or ethos.

In discussing this with senior colleagues, one suggestion was that The GAS Project should have had a control group isolated from the project, a group from which quantitative data relating to their learning attainment could be collected and compared to those children involved with the project, with causal patterns of the projects impact on learning then being identified and proven. A methodology to engage those critics, providing data which would have been seen as more “serious”

An example of this approach can be seen in the analysis of data linked to the impacts of The Gas Project on children’s speaking and listening progressions, which was part of the original projects planning. An identifiable correlation between the engagement of the children within the projects journey and their increased level of attainment in speaking and listening was clearly observed; with those children more engaged achieving a higher level of both progression and attainment in speaking and listening.

This data can be seen in the Appendix Four.

This adopted approach, if deliberately constructed, would have been characteristic of Experimental methodology, as Wilson, (1979, p.22) observes,

“Establishing one control group that over a period of time are isolated.”

However, it is my opinion that the implementation of this methodology within a learning environment has many significant ethical concerns. The experimental method implies that the researcher could manipulate, control and possibly create the conditions in which one group of children’s learning becomes what Wilson, (1979, p.22) terms, “inanimate”

The experimental methodology attempts to make claims of causality, causal links between an action or change and its impacts on the child as a learner, but in my view it fails to consider or recognise the social, cultural and everyday life influences that lay out of the control of a teacher, influences that significantly contribute to any change in a child’s learning or experiences of learning. In my view, it further provides a methodology that conflicts with the ethical guidelines outlined by BERA, particularly when reviewing the 2004 updated guidelines, point 22 that clearly states,

“ Researchers must take steps to minimise the effects of designs that advantage or are perceived to advantage one group of participants over other, e.g. in an experimental or quasi experimental study.”

Becoming an agent of change, while balancing the demands of being a class based teacher. The methodology I used.

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Research Methodology.

Michael Bassey, (1999, p.108,109) defines case study as an, “Empirical Enquiry” conducted within a, “Localised boundary of space and time”, a study of one particular event or programme of personal interest to the practitioner conducting the research, with its main strength being that it is a research model that entails being part of the natural context of the school.

This view of case study as a research methodology is shared by other writers, such as Coleman, M and Briggs, A, 2002, who have used Michael Bassey’s observations in their book, “Research methods in Educational Leadership and Management.”

In reflecting upon the purposes and ways in which a case study could be written up, identified by Yin, (1994, pp.4-6), I have taken the decision to use the Explanatory research model.

Yin, (1994), identifies two other forms of case study, the exploratory study [L2] , looking primarily for patterns in data, and the descriptive model, which takes an analysis of data one step further by linking the data to an initial educational theory, a theory that leads to data collection, rather than being applied to the study after its data has been analysed.

Both would be productive in identifying what happened during The GAS project, and would be productive in analysing data relating to its impact, for example the identification of the projects proportional relationship between engagement in The GAS Project and the raising of Speaking and Listening attainment. Appendix Four.

In my view each would only serve to identify patterns in data and impacts of the study already available to us through its final evaluation submitted to New Direction. However, an explanatory approach, looking at why and how different people engaged in the project as a result of the leadership models used would provide me with an more analytical reflection on my own personal leadership qualities and there effectiveness in developing curriculum change. A study that would not just simply identify what happened, which has already been done, but a study that would allow me to analyse, evaluate and learn more about possible models of change management which would be most suitable in ensuring The GAS Projects sustainability.

A chronological approach to this report would also allow me to link how I was operating as a learning leader during the projects most productive moments and give me an insight into how these skills and leadership qualities can be developed further to ensure the project informs sustainable curriculum change.

Yin (1994) identifies a possible alternative methodology as, the theory building report model. While supportive in developing a model from which a report could be used to inform curriculum change, it implies that a new theory or part of a theory is ready to be presented. I think that this is one step further than where I am now with this project, and serves to strengthen the used of the explanatory approach, but using this study to create a well defined theory ready to be presented is an interesting concept.

An alternative methodology for this research project could have been the use of the Ground Theory Approach to qualitative data developed by Glaser and Strauss in the 1960’s.

In this model, a devised starting theory evolves during the actual research, informed by theoretical samplings, comparisons made between events, populations, activities.

As Punch (1998, p163) observes “The essential idea in grounded theory is that theory will be developed inductively from data.”

After reading more about grounded theory methodology as a process, I could make links between its evolving nature and the learning journey taken during The GAS Project. The GAS Project started from a set of key questions and possible theory solutions to the changes needed in our music curriculum. These initial theories were continuously evolved following the analysis of views collected from the stakeholders participating in the project.

Hayes (2000, p184) defines this process as the “Iterative Process.” A process in which theoretical insights emerge or are discovered as the research develops, in turn these new insights producing new theories which are tested, producing more new insights that are again tested, and so on, until you reach the core where no further theory can be produced or the research has evolved to a point where the last theory is proven, what Punch (1998, p167) terms “Theoretical saturation.”

The reason for not selecting grounded theory as the methodology for this study relate back to the experiences I encountered during The GAS project. As I became more saturated in trying to understand what was happening during the project, trying to create evolving responses to the enquiry, it can be argued that reaching the desired outcomes became increasingly more difficult to achieve.

As Miles and Humerman, (1994, p.62) observe:

“Understanding comes in layers; the longer we are in the environment, the more layers appear to surface and the choice of when to close down, when to go for the definitive analysis can be painful…when the constraints of time and budget are relaxed, saturation can become a vanishing horizon.”

The Grounded Theory approach may result in a diversion away from the focus that I specifically want to look at.

Judith Bell (2005, p10.) observes that case study methodology can be used to identify an, “Instance” which could be the introduction to a new way of working, or an innovation of an institution, and that the discovering of; “Instances” from which innovation can drive change as one of case study methodologies most influential benefits.

It is my view that case study provides a methodology that would prevent the disappearance of the horizon, while remaining a enquiry conducted in real world terms, exploring an issue related to our school through a range of viewpoints connected to its community and stakeholders.

It would allow me to study possible, “Instances” created by the GAS Project that could be the introduction to new musical innovations within our curriculum and most importantly the opportunity for me to deepen my understanding of effective learning leadership.

Data Collection Methods.

In this study I have decided to use The Narrative Enquiry approach to data collection.

Dr Janette Gray, (1998) outlines how The Narrative Enquiry approach allows the learning leader the opportunity to collect “Stories” which form part of the research analysis, observing how,“ Informers speak to an interviewer, with the researcher listening, this method is considered as a data collection methodology when the ‘stories’ listened to are made into interpretations, analysis is made and resulting writing moves these stories into a, “Meaning making process.”

Gudmunsdottir, (1996, pg295) also terms the narrative enquiry approach as a way of creating a, “Meaning making process most useful to the researcher when exerts of stories are used when reflecting on a research theme.”

Narrative enquiry demands that the researcher builds a trusting relationship with those sharing their stories. It is my intention to include young children as part of the Narrative Enquiry process and while the United Nations Convention on The Rights of The Child, Article 12 requires that children who are able to express their views should be granted the opportunity to do so freely, BERA Guidelines, points 14 to 19 identify that this must be facilitated in a way in which the child is fully informed of the process and gives an informed consent to being part of any study.

This is essential that such facilitation takes place if the study is to overcome identified issues relating to what Judith Bell defines as, “The vulnerability of the Interviewer”, concerns also observed in the 2004 revision of BERA Guidelines, issues relating the interviewees ability to effectively, “tell their story”, their ability to articulate and convey their understanding or viewpoint, their ability or comfort in being completely honest in the responses they give and importantly their ability to make the decision to no longer be involved in the study.

Narrative Enquiry is a data collection method that will prove challenging, especially when considering how collected “stories” can be used as valid data, how I can effectively extract significant patterns, impacts or instances to analyse, however, it is a methodology that can be used in an attempt to capture these such, “Instances” and therefore, Narrative enquiry as a data collection method, in my opinion, fits neatly with the themes, key questions and methodologies outlined in this study.

In considering other possible data collection methods, Ethnography and the Ethnographic Style of approach provide an interesting alternative.

Brewer, (2000,p.6) Defines this approach as a way of, “ Studying people in naturally occurring settings by methods of data collection which captures their ordinary activities, the collection of data in a natural setting.”

I considered using this approach, collecting data to analyse by conducting some informal observations of colleagues using The GAS Project in their classroom provision, using the peer to peer research lesson framework we have developed in our school. However, in my opinion, the process of creating the environment in which Ethnography and the Ethnographic Styles of approach can take place would in its very nature mean that the natural setting and activity of the practitioner being observed would be altered. It is my opinion that any practitioner, when involved in peer to peer observation experiences consciously or unconsciously alters their everyday practice in response to the knowledge that they are being observed.

Ethnography and the Ethnographic Styles of approach have a further constraint in that the data collected relates only to that direct period of observation, its typicality could be questioned, and with the time pressures of the Summer Term, it would be very difficult to find fellow practitioners willing to be observed in this way over a significant period of time.

Michael Bassey (1999) observes that case study methodology allows the researcher to follow an enquiry that is driven from their own personal interests; Narrative Enquiry as a data collection method will allow me the opportunity to try and capture the views of others, including children, providing a collection of stories from which I can extract “Instances”of personal interest.

“Instances” collected from The GAS Projects Stakeholders offer a source of data from which I can deepen my understanding of effective leadership, “Instances” that may provide extracts when analysed alongside other leadership theory and research that provide answers to the three key questions driving this study.

Becoming an agent of change, while balancing the demands of being a class based teacher. From Lit Review to Case Study.

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Leading Learning.

Introduction.

A Brief Description Of The Educational Establishment.

“The school is a larger than average sized school. The overwhelming majority of the pupils are of minority ethnic background and three quarters of learners are new to English or bilingual. There is a steady increase of eastern European families and refugees. The take up of free school meals is lower than the national average, as is the number of pupils who have identified special needs.”

(An Extract from the schools existing website, 2010)

Over the past academic year the school has been involved in the Creative Partnerships Enquiry schools programme. This recent piece of action research, entitled “The One mile Radius Project”, explored:

“The musical cultures and interests of the children and adults within our school community. Using culture and home languages as a way of engaging, a starting point, to a innovative and creative musical project. This project recorded digitally pieces of music, image, text, stories, lullabies and memories kindly shared by all stakeholders in our school and its surrounding community, these recording became known as The GAS, The Gearies Archive of Sound.”

(An Extract from The One mile Radius Project planning, which can be seen in Appendix One.)

“GAS” became the projects shortened, adopted name.

“The GAS Project developed performances and celebrations that involved the whole community and grew in its organic nature to become an archive that recorded all of our communities home languages, recording our communities’ explorations of culture, identity, music and voice.” (An Extract from, “The One mile Radius Project.” Appendix One)

A more detailed outline of its abstract, key questions and intended enquiry can be seen in Appendix One.

A Rationale For The Research.

The evaluation of The GAS Project identified a series of disadvantages in its approach to investigating intervention and change. As Identified by Cohen and Manion, (1994), the project shared common disadvantages of the action research methodology, it never really reached its final conclusion; the research was evaluated independently by those involved but has yet to be applied to practice across the school and the implementation of the action steps proved extremely challenging.

This case study has the rationale of looking at the learning journey undertaken during The Gas Project, identifying how this reflective narrative can be used to lead a needed change to our music curriculum.

The Research’s Key Questions:

As a class based teacher:

1. How do I take the rich pieces of learning experienced by the children during the GAS project and use them to create an innovative and sustainable curriculum change?

2. How do you lead change which has derived from a personal sense of what is needed as opposed to an imposable whole school, local authority or national initiative?

3. How as an agent of change or a leader of learning do you create the environment or culture in which all stakeholders feel that they can embrace challenge and not fear change?

Becoming an agent of change, while balancing the demands of being a class based teacher.

2010-10-21T21:27:00.000+01:00

In reflecting on the challenges that face the class based teacher in effectively leading educational changes in their schools, James and Connolly, (2000) identify two significant barriers; The challenging of existing and traditional cultures in a school with the intention of creating a new one and the second being the barrier of time, the ability of the class based teacher to balance the time they can dedicate towards leading change and their on going classroom commitments.

During The GAS Project, as a leader of change I experienced these barriers identified by James and Connolly, (2000). It is therefore my opinion that the key theoretical debate relevant to this research is a critical look at how a class based teacher can become an agent of change. It is my view that understanding the issues relating to change management and the creation of a school culture or environment that welcomes change and challenge is essential in finding possible answers to the key questions underpinning this piece of research.

Field, et al (2000,p.74.) observe that if a class based teacher is going to be successful in instigating change they would do so by using one of two methodologies. The first is to adopt a model of “Incremental Change.” This sees the learning leader, or agent of change involved in amending existing schemes of work, holding learning discussions with team members and cross phase groups or managing the implementation of whole school policies or national initiatives. In my view however, this model falls short in definition of what I would see as an agent of change. This, “Incremental Change” model in my view asks the class based teacher or subject leader to perform more as a manager, a driver of an innovation which is imposed at whole school level, by national policy or Local Authority level.
While needing to be effectively managed to ensure its implementation, “Incremental Change” in my view, describes a set of skills I would attribute more to a learning manager as opposed to a leader of learning and change. The fact that the agenda for the changes are imposed, with the Incremental change leader unable to initiate the desired change in a way in which they have real autonomy over, as they see it, in my view demands management and not innovation. The, “Incremental Change” as a methodology for me is a model of management not leadership. This model falls short of providing me with what I see as possible answers to the questions underpinning this research. It would not provide a deepened understanding as to how as an agent of change or a leader of learning I could create the environment or culture in which all stakeholders feel that they can embrace challenge and not fear change, it would simply deepen my understanding of how to manage a change that had been imposed. For this research project I am looking to deepen my knowledge of how you lead on an innovative change personal to your own view of what is needed, more of a moral purpose than imposed initiative.

Field, et al (2000, p74.) second methodology however, provides a model that outlines for me a more fitting definition of what an agent of change or learning leader should be. This model of learning change is termed, “The Revolutionary Change.” In this model the teacher is the driving figure in not only the management of the change, but also its innovation.
To be an agent of, “Revolutionary Change” Harris, (1992) identifies that the learning leader needs to establish two identifiable roles as an agent of change. First, the learning leader needs to communicate a clear understanding of the content of the innovation and personal belief in its worth, secondly they need to have the ability to facilitate the change.

This second model calls on the learning leader to display skills identified by Morrison, (1998, p221)

“The change agent or leader of change, need to identify and respond to changes that lie outside of the immediate field of the project in question, for example taking risks.”

Harris et al, (1992), continues that the revolutionary change leader needs to develop the crucial role of establishing the right kind of climate to enable the change to be accepted, they need to visually be the one driving the change, responsible for the process from creation, initiation and implementation.

In reading this I felt that, “The Revolutionary Change” model complimented by Harris’s observations was more inline with my personal reflections relating to the agent of change or learning leader’s role. However, in stating what the leader of the change needs to do and the identifiable roles to establish, the reading failed to continue to discuss how you would go about doing this, how you would lead on a change associated not with imposed initiatives but derived from a sense of personal moral purpose, a change lead by a class based teacher.

It is my opinion that the concept of the, “Inside out leader” devised by Will Ryan, (2008) provides a possible solution to how a leader of learning, based in the classroom, can become a successful agent of, “Revolutionary Change.”

The inside out school leader’s leadership is derived from a strong moral sense to meet the needs of the school community. The model provides four clearly defined steps to support the learning leader in instigating change, with each step accompanied by detailed notes relating to practical models and methodologies on how the class based leader can implement each part of the journey.

The inside out leader looks at the needs of the children and establishes the moral purpose for their actions, refusing to compromise on principles and finally, and in my opinion most crucially, identifies and establishes a model group of practitioners who display excellence in their implementation of the desired change to practice.

Inside out leaders actions are defined by a moral purpose, they visualise the successful outcome, act proactively and create opportunities with the right people, anticipate positive responses, are bold and imaginative in their approach to reach people and make progress, showing little self doubt, motivating others as they become excited about “inevitable success.”

This concept of the “Inside out leader” in my opinion is an ideal, with some parts of the terminology, for example, “Inevitable Success” perhaps over simplified, or “Rose Tinted”. In my opinion it does provide an effective structure that a leader of learning can use to establish the needed identifiable roles of a Revolutionary change leader, outlined by Harris (1992).

However from personal experience, especially in recollection of those encountered during The GAS Project, the Inside Out Leaders success is ultimately dependant upon the final step, the need to have successfully engaged with a group of practitioners that not only share the leaders vision and sense of moral purpose but can also display excellence in delivering the desired change to their practice.

This final step of the Inside Out Leaders journey further relates directly to the key questions underlying this research project, notably again a consideration of how you lead change, from the classroom, which has derived from a personal sense of what is needed as opposed to an imposable whole school, local authority or national initiative and how you create the environment or culture in which all stakeholders feel that they can embrace challenge and not fear change

It would be my observation that while the individual learning leader may successfully instigate the beginning of an innovative change, or display all of the attributes outlined by Harris et al (1992) most of the literature I have read indicates that successful leadership of change or innovation to the curriculum by the class based teacher depends heavily on them being able to construct a professional learning group within the school that models excellence in engaging within a culture of change. The success of innovation relies on the leaders ability to construct an environment in which resistance to change is overcome by a sense of shared risk taking and sharing of knowledge.

2010-10-18T21:54:00.001+01:00

The Education Project, Bahrain. October 2010.

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What has stayed in my mind a week on, loads, what will genuinely impact on my practice, The passion of Taddy Blecher, Maharishi Institute, The determination of Helena Singer, Aprendiz City School, The insights of Charles Leadbetter and the Tinkering of Gever Tulley. The one key message that really sticks in my mind was made by Marco Petruzzi, the need for educaters to excute their ideas, to just do it.

The Tiger ate all our food...and the cafe was too busy... ...so we went to Kasmir Foods to buy some healthy snacks.

2010-10-15T17:45:00.001+01:00

Untitled

2010-10-15T17:43:00.001+01:00

Massive microphones and snail hotels. on PhotoPeach name="allowscriptaccess" value="always"/></object>

Making Bird Feeders, a great weekend project.

2010-10-15T17:36:00.001+01:00

Making bird feeders from recycled fruit shoot bottles on PhotoPeach name="allowscriptaccess" value="always"/></object>

2010-10-15T17:31:00.001+01:00

Massive microphones and snail hotels. on PhotoPeach

Mini Monster Gardens.

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Remember if you make a mini monster garden at home,take some photos and we will publish them here on this site.

Quick reminder of what you need:

Winter/late autumn flowering plants.

Monsters:

Buttons

Salt Dough:

1 cup of water, table salt

2 cups flour

food colouring and lemon juice.

Enjoy

A Mini Monster Garden.

2010-09-15T17:53:00.001+01:00

Try this at home.

Get some late autumn/winter flowering plants from our local home centres, B and Q sell 12 to 24 plants from around three to five pounds, pot them and place the out on a patio, corner of the garden or a window box.Then, create some small mini monsters from salt dough and buttons. To create the monsters, add into a bowl one cup of table salt, one cup of water, half a table spoon of lemon juice, some food colouring and two cups of flour. Mix well, add additional flour if the mixture is to wet and you will soon have some salt dough ready to model with. Model the dough into a monster shape and then add buttons for eyes and mouth.

Click on our images to view the mini monsters and gardens our children have made this week.

If you do make some mini monster gardens, take some digital photos and send them to use n school and we can publish them on this site.

Enjoy.

Tracks from the Gearies Archive of Sound. Previews 2.

2010-08-16T23:20:00.001+01:00

Download now or listen on posterous

beengali folk sons soumen gouri choudhury.wav (6355 KB)

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sneeze rhyme kulvinder.wav (1920 KB)

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8 days.wav (7396 KB)

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chocolatecha bangla anagha t 2 proper.wav (7005 KB)

Tracks from the Gearies Archive of Sound. Previews 2.

2010-08-16T23:06:00.001+01:00

Download now or listen on posterous

beengali folk sons soumen gouri choudhury.wav (6355 KB)

Download now or listen on posterous

sneeze rhyme kulvinder.wav (1920 KB)

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8 days.wav (7396 KB)

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chocolatecha bangla anagha t 2 proper.wav (7005 KB)

Messages in Bottles: Images captured during the project. Part 3

2010-08-16T23:02:00.001+01:00

Tracks from the Gearies Archive of Sound. Previews.

2010-08-16T22:58:00.003+01:00

Download now or listen on posterous

ha ha this a way concert.wav (6709 KB)

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streets of london.wav (5339 KB)

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kalpana bhajan.wav (4801 KB)

Children Co Constructing their own Learning: Fireball XL5

2010-08-16T22:58:00.001+01:00

In this project I shared with the children my love of the theme tune to Fireball XL5, we watched an episode, learn the song and then the children were given the rest of the day to construct their own projects. The children created some wonderful pieces of learning ranging from the construction of a rocket and accompanying five sets of space suits to stimulate creative role play, two enlarged maps of the universe, one poem inspired by the song, one percussion composition to accompany the songs lyrics, three space stations created from Lego and a collection of space themed story comics and accompanying puppets. Really great to see what the children can create by themselves when us interfering adults stop hindering their creativity.

Messages in Bottles: Images captured during the project. Part 4

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Messages in Bottles: Images captured during the project. Part 2

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Messages in Bottles: Images captured during the Project.

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Messages in Bottles.

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Project abstract:

This project aims to provide the children with a wow factor outdoor space. It looks to explore creative use of the outdoor spaces around the reception classroom. Creativity within and around these spaces places in which the children can engage in child initiated play and learning. The project looks to centre its learning on creative storytelling and child initiated writing. The projects main audience will be an identified group of reluctant writers. The project also looks to develop ways in which the Early Years network can join together and celebrate its practice by bringing children staff and school communities together.

Desired Outcomes.

·

To deliver a collection of creative learning experiences.

To create an outdoor space that promotes writing.
To increase the children’s confidence and commitment to constructing their own learning, increasing their confidence in developing child initiated play.
To create an environment that engages the reluctant writers, providing them with a space that makes them want to write.
Developing a space in which physical play can compliment other areas of learning.

What is already in place to support this project:

Support from team members and other identified colleagues

Resources available

Why are these outcomes important to the collective or individual. (ecology.)

I want to explore how the children will respond to this different learning setting… How the children will use their imaginative responses… I want to see and feel a wow factor in that space…I want to see boys and girls enthused about writing, really encouraged to creative independent pieces of writing. (Karen)

This project will give the children a unique and stimulating opportunity to be truly creative and lead their own learning.

What will be the performance measures?

The creation of some stimulating outdoor spaces.

The creation of the, “Message in a bottle” Project.

The creation of writing journals.

An event that includes the school and network community.

Pieces of independent writing created by the identified reluctant writers.

A range of creative mark making activities.

The creation of an outdoor learning space in which physical play complements writing and mark making.

A collection a schools send stories to each other in bottles, these become collaborative stories that organically grow as the children continue to send stories to each other and other children across the borough.

What will be the success criteria?

Reluctant writers engage in child initiated writing activities.

An identified group of learners use the outside spaces in a more purposeful way.

Reluctant writers choose to write.

We get that wow factor

The project impacts upon the progression of an identified group of reluctant writers.

Paradise Playground 2010.

2010-08-16T22:56:00.001+01:00

Download now or watch on posterous

MOV038.3gp (5209 KB)

Our First Music Festival @ Gearies: Paradise playground 2010.

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This is our first attempt at an all day music festival that celebrates the children musicality. The design of the event was kept deliberately simple, so that the children could have the ownership of the day and how it could evolve. We created an outdoor space for children to perform in, created an outdoor space for children to sit down, relax and enjoy the performances in, and then simply sat back and enjoyed their creative responses.

Tracks from the Gearies Archive of Sound. Previews.

2010-08-16T22:51:00.001+01:00

Download now or listen on posterous

ha ha this a way concert.wav (6709 KB)

Download now or listen on posterous

streets of london.wav (5339 KB)

Download now or listen on posterous

kalpana bhajan.wav (4801 KB)

Children Co Constructing their own Learning: Fireball XL5

2010-08-16T22:31:00.001+01:00

Children Co Constructing their own Learning: Fireball XL5

2010-08-16T22:29:00.001+01:00

Download now or listen on posterous

fireball.mp3 (981 KB)

Best Theme tune ever?

Messages in Bottles: Images captured during the project. Part 4

2010-08-16T22:18:00.001+01:00

Messages in Bottles: Images captured during the project. Part 3

2010-08-16T22:14:00.001+01:00

Messages in Bottles: Images captured during the project. Part 2

2010-08-16T22:13:00.001+01:00

Messages in Bottles: Images captured during the Project.

2010-08-16T22:07:00.001+01:00

Messages in Bottles.

2010-08-16T22:02:00.001+01:00

Project abstract:

Desired Outcomes.

·

To deliver a collection of creative learning experiences.

To create an outdoor space that promotes writing.
To increase the children’s confidence and commitment to constructing their own learning, increasing their confidence in developing child initiated play.
To create an environment that engages the reluctant writers, providing them with a space that makes them want to write.
Developing a space in which physical play can compliment other areas of learning.

What is already in place to support this project:

Support from team members and other identified colleagues

Resources available

Why are these outcomes important to the collective or individual. (ecology.)

This project will give the children a unique and stimulating opportunity to be truly creative and lead their own learning.

What will be the performance measures?

The creation of some stimulating outdoor spaces.

The creation of the, “Message in a bottle” Project.

The creation of writing journals.

An event that includes the school and network community.

Pieces of independent writing created by the identified reluctant writers.

A range of creative mark making activities.

The creation of an outdoor learning space in which physical play complements writing and mark making.

What will be the success criteria?

Reluctant writers engage in child initiated writing activities.

An identified group of learners use the outside spaces in a more purposeful way.

Reluctant writers choose to write.

We get that wow factor

The project impacts upon the progression of an identified group of reluctant writers.

Paradise Playground 2010.

2010-08-16T21:50:00.001+01:00

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MOV038.3gp (5209 KB)

Our First Music Festival @ Gearies: Paradise playground 2010.

2010-08-16T21:44:00.001+01:00

GEARIES DSI

2010-07-13T14:40:00.001+01:00

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edit1 phases1and2.doc (3690 KB)

A research project exploring how the DS-I could possibly be used as a learning tool to narrow the gap between our disadvantaged learners and their peers. (With a six weeks review of findings.)

The One MIle Radius Project. GAS (Gearies Archive of Sound.) The projects complete planning, evaluation and impact files.

2010-07-07T21:17:00.001+01:00

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Geariesbrief.doc (191 KB)

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ProposalforGeariesSchool.doc (30 KB)

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planning stage draft 1.doc (649 KB)

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planning2.doc (379 KB)

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The One Mile Audio Archive evaluation.doc (319 KB)

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GAS Evaluation3.doc (58 KB)

Untitled

2010-06-01T17:10:00.001+01:00

Mermaids, Princesses and Rainbows.

2010-05-27T12:44:00.001+01:00

Mermaids, Princesses and Rainbows.

2010-05-27T12:42:00.001+01:00

Books for Breakfast: A great way to start the day!

2010-05-19T10:12:00.001+01:00

PLAYFUL continued...

2010-04-20T16:45:00.003+01:00

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create robots.wmv (7560 KB)

PLAYFUL, continued...

2010-04-20T16:45:00.001+01:00

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ireaders_0001.wmv (18318 KB)

Playful continued...hide and seek

2010-04-20T16:44:00.001+01:00

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hide and seek.wmv (4724 KB)

Creating a "symbiotic" reading relationship between child and facilitator.

2010-04-14T14:08:00.001+01:00

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Appendix Six.doc (24 KB)

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Bibliography.doc (42 KB)

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consulation possibles.doc (75 KB)

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Data relating to the reading attainment of the children involved in the Reading for pleasure initiatives in Class P.doc (30 KB)

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Observations Drawn from The data produced by the Borough.doc (31 KB)

GAS- The Gearies Archive of Sound.

2010-03-09T21:38:00.001Z

The Project Abstract:

“What opens the mind to engage upon a shared musical journey where we explore our children’s cultures, histories and identities through the music they listen to, will this shared journey raise the profile of music within our school and support practitioners in developing innovative musical project with their children?”

In this project we hope to explore the musical cultures and interests of the children and adults within our school community. Using these audio identities and cultures as a way of engaging, a starting point, to a innovative and creative musical project. This project will be recorded digitally along the way, creating our own music/media record, stored pieces of music, image, text that can be shared through our whole community. Within this project we would also like to develop performances and celebrations that involve the whole community. I am guarding in committing to much more description at this point as we would also like the project to have an organic nature, growing from the children’s explorations of culture, identity, music and voice.

Ambience: Constructing Sound Machines.

2010-02-23T14:41:00.001Z

Ambience : Constructing sound machines. on PhotoPeach name="allowscriptaccess" value="always"/></object>

Global Gearies

2010-02-07T11:59:00.001Z

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BETT2010.doc (1508 KB)

http://2simpleblog.wordpress.com/2010/01/21/playful-learning-children-as-game-builders/

Playful Learning Children as Game Builders By Anthony Evans

2010-02-07T11:58:00.001Z

Article hosted at:

If the path to reading is not a pleasurable one...

2010-01-25T20:08:00.001Z

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lit reviewdraft3.doc (51 KB)

“If the path to reading is not a pleasurable one, we run the risk of losing the plot.” Learning to read “Can not be placed in a narrow performativity culture.”

(Phillip Pullman 2003)

Has the Phonic War created two polarised camps and ousted creative alternatives, leaving us with a narrow “performative” teaching culture?

LATWF 2010

2010-01-24T20:02:00.001Z

http://www.youtube.com/v/5-zqnAfsiQg&hl=en_GB&fs=1&"> name="allowFullScreen" value="true"></object>

http://www.latwf.org/en-gb/About/2009-Highlights1/Video-hightlights/Dan-Lea/

LATWF2010- Gearies Infants, Technology and The Learner Journey.

2010-01-22T20:22:00.001Z