Summative assessment 1
is cooperative learning? What are five of the benefits of cooperative learning?
learning is an organized and structured way to use small groups to enhance
student learning and interdependence. There are many benefits of using
cooperative learning in the classroom: … Students learn to work together
Benefits in the
There are many
benefits that can result from using cooperative learning strategies. Here are
benefits you might notice after implementing cooperative learning tasks in your
learning is fun, so students enjoy it and are more motivated.
learning is interactive, so students are engaged, active participants in the
learning allows discussion and critical thinking, so students learn more and
remember what they’ve learned for a longer period of time.
learning requires students to learn to work together, which is an important
skill for their futures
self-esteem in students.
and explain three principles of practice. (200–250 words)
Encourages Student Frequent student – instructor contact in and out of classes
is an important factor in student motivation and involvement. Instructor
concern helps students get through rough times and keep on working. Knowing a
few instructors well enhances students’ intellectual commitment and encourages
them to think about their own values and future plans.
experiences, values, and attitudes.
activity that brings students to your office during the first weeks of class.
•Try to get to
know your students by name by the end of the first three weeks of the term.
and sponsor events led by student groups
2. Good Practice
Encourages Cooperation Among Students
enhanced when it is more like a team effort than a solo race. Good learning,
like good work, is collaborative and social, not competitive and isolated.
Working with others often increases involvement in learning. Sharing one’s own
ideas and responding to others’ reactions improves thinking and deepens
•Ask students to
share information about each other’s backgrounds and academic interests.
students to prepare together for classes or exams.
groups within your course.
•Ask students to
give constructive feedback on each other’s work and to explain difficult ideas
to each other.
•Use small group
discussions, collaborative projects in and out of class, group presentations,
and case study analysis.
•Ask students to discuss
key concepts with other students whose backgrounds and viewpoints are different
from their own.
students to work together
3, Good Practice
Encourages Active Learning
Learning is not a
spectator sport. Students do not learn much just sitting in classes listening
to instructors, memorizing assignments, and spitting out answers. They must
talk about what they are learning, write about it, relate it to past
experiences, and apply it to their daily lives. They must make what they learn
part of themselves.
•Ask students to
present their work to the class.
concrete, real life situations to analyze.
•Ask students to
summarize similarities and differences among research findings, artistic works
or laboratory results.
questions, listening behaviors, and feedback.
•Encourage use of
•Use technology to
encourage active learning.
•Encourage use of
internships, study abroad, service learning and clinical opportunities.
•Use class time to
work on projects
learners learn by seeing things. Identify 10 characteristics of visual
1. Visual learners like to read.
2. Visual learners take copious notes.
3. Visual learners often close their eyes to visualize
4. Visual learners are usually good spellers.
5. Visual learners like to see what they are
6. Visual learners tend to value planning and
7. Visual learners are meticulous, neat in
8. Visual learners notice details.
9. Visual learners find something to watch when
learners find quiet, passive surroundings ideal
use a number of different strategies to manage students’ behaviour. What is the
CRC approach? (50 words)
Autism CRC is the
world’s first national, cooperative research effort focused on autism and aims
• Harness existing
knowledge of ASD to ensure early and accurate diagnosis, and use breakthroughs
in biological research to identify subtypes of ASD and the most effective
interventions for these;
• Provide ASD
appropriate educational environments and programs that optimise students’
social, behavioural and academic success, and equip teachers to manage even the
most complex behaviours; and
opportunities for people with ASD to successfully transition to post school
life, participate in higher education and employment, and identify best
practice in physical and mental health management.
need to comply with various pieces of legislation. Provide a summary of the
conditions you must comply with when collecting, recording and disclosing
information according to federal privacy legislation. (100–150 words)
Legislation/Legislative Instruments and Standing Orders
– Agencies must be aware of, and implement to the level required, the
requirements of the relevant policy/standard/guideline
practice – Agencies are not obliged to comply and may adopt the advice/guidance
as best suits their needs. However agencies are strongly recommended to follow,
to the extent needed, the advice/guidance in these products
resource – Agencies may benefit by consulting this material which may provide
information on records management issues and requirements
provides more detailed information about:
•the types of
personal information we collect and hold;
•the methods by
which we collect and hold personal information;
•the purposes for
which we collect, hold, use and disclose personal information;
•how we manage
personal information collected online;
•whether we are
likely to disclose personal information to overseas recipients and the
situations in which we may do so;
•how you may
access your personal information or seek the correction of such information;
•how you may
complain about a possible breach of the APPs by us and how we will deal with
What is ‘personal
It is important
for schools to understand the definition of ‘personal information’. Previously,
for information to be considered personal it had to identify the individual
concerned or make the identity apparent, or reasonably ascertainable.
to the Act, a broader definition now applies. Personal information now includes
information about an individual which, when combined with other information
(which may not be controlled by the same entity), identifies an individual or
renders the individual reasonably identifiable.
ensure compliance with the Act, it is important for schools to understand what
type of information is considered personal information and is therefore subject
to the Act.
falls within the definition of personal information includes:
is collected by a school that is of a more personal nature falls within the
definition of ‘sensitive information’. If sensitive information is collected by
a school, the school must comply with stricter rules relating to the use and
disclosure of that information.
information includes information about:
opinions and/or memberships;
•memberships of a
professional or trade association;
•tax file numbers;
should be included in a lesson plan? (100 words)
1. Know your
objective. At the beginning of every lesson, write your lesson plan goal at the
2. Write your
3. Plan your
4. Get to know
your students. …
5. Use multiple
student interaction patterns. …
6. Address a
variety of learning styles
Every lesson plan
should have a clearly defined learning goal, after all, that is the reason for
teaching! I have seen some very inventive lesson plans that lack this important
ingredient. No matter how entertaining a lesson may be, if it is lacking a
learning goal, it has missed its mark.
List the resources
needed for a lesson. Nothing is worse than having the perfect lesson planned
only to find that you are missing an important material. Jotting down a list of
resources needed for the lesson will ensure that you have all the paper, glue,
copies, etc. when the time comes to use them
It is important to
note any standards being met by the lesson. Most schools are requiring a
standard tie in for every lesson. Even if your school doesn’t require that you
note which standards you are meeting, it is good practice to be familiar with
your state and national standards. You will be surprised how many standards you
are meeting in any given lesson. You may also choose to note how a lesson falls
into the scope and sequence for yearlong learning
After the learning
goal, the anticipatory set is one of the most important ingredients in a
quality lesson plan. The anticipatory set engages your students in the learning
that is about to happen. It sets the tone for the lesson and makes students
hungry to learn more. Think of the anticipatory set as a movie trailer. The
trailer doesn’t tell everything about the movie but provides enough glimpses to
leave you wanting more
For example, if
your students are studying dinosaurs, tell them they are palaeontologists going
on a dig. Outfit them with field journals and a ‘special’ palaeontologist
pencils that they can use to take notes. In my classroom, I like to use Wordless
to begin my lessons. These are word clouds that you can create at
www.wordle.net. I include several “clue” words about what we will be learning
and project the Wardle on the whiteboard. As students come into the classroom,
they guess what we will be doing based on the Wardle.
Create a series of 4–5 lesson
plans to create a mini-unit on poetry.
Ensure that each
of the lessons has a set of well-written objectives.Lesson Plan 1: The Tone MapLearning Objectives In this lesson, students
will have opportunities to: • Listen
to poems being recited, with an ear to how the performer has adopted different
tones of voice over the course of the performance • Mark,
visually, where and when those shifts of tone occurred • Use a
rich and varied tone vocabulary to name each shift in tone, looking up words
they do not know •
Practice “mapping” a poem on their own, in a precise and nuanced way • Write instructions to a classmate on how he
or she should recite the poem, with evidence to support why this series of
tones of voice is correct
Materials and Resources • The Poetry Out Loud CD or access to the
online Poetry Out Loud Audio Guide • A CD
player or computer • Printed
copies of the poems you play from the CD, which can be found in the Poetry Out
Loud anthology • A good dictionary Lesson Plan: The Tone Map 21 Activity
Description 1. The
day before you begin this lesson, hand out a copy of the tone list at the end
of this lesson plan. Feel free to trim the tone list to suit your students,
however, the longer it is, the more varied and subtle your students’
descriptions of tone will be. Explain that they will be using this list to
describe the changing tones of voice that an actor uses to convey the emotions
in a poem, and ask students to circle any words on the list they do not know.
Assign students to look up some or all of these words—no more than two or three
words each, probably—and to bring in the definitions and the full tone list
when they return. 2. To
begin the lesson the next day, introduce the idea that most poems tell a “story
of emotions”: a series of moods that change as the poem moves from start to
finish. Whether or not we understand what everything in the poem means, we can
experience, enjoy, and convey to others the poem’s emotional drama. We do this
by recognizing the changing tones of voice that the speaker of the poem adopts
as the poem moves from beginning to end. • On track 32 of the CD, introducing “Miniver
Cheevy,” Gioia speaks about how recitations must sometimes convey mixed
emotions. You can also illustrate this point with “Jenny Kissed Me,” which is
somewhat shorter and perhaps therefore easier to work with in class. 3. Play
Kay Ryan’s recitation of “Jenny Kissed Me” (track 3). Ask students to listen
for the tonal turning points they hear in Kay Ryan’s recitation. You will
probably want to play it several times. At this point, students need only jot
down notes about where in the poem—at what words or phrases—they hear the poem
shift in mood, or the performer shift in her tone of voice. 4. Now,
using the tone list, have the students brainstorm names for each tone they have
heard. Encourage them to combine terms whenever they need to: for example,
“bantering disbelief” is different from “stunned disbelief,” and both are
different from “horrified disbelief.” You could explain that emotions don’t
always come in primary colors; often colors blend, and shade into one another.
The more accurate their descriptions are, the more distinctions they can learn
to recognize. • Perhaps bring in and hand out some free color samples from a
paint store to illustrate this: bright white is different from eggshell white
is different from cream, etc. • If
there isa tone word they wish to add to the list, let them. •
Students do not need to agree on the tones they hear; however, they should be
able to support their descriptions by reference to the poem, and by reciting
the section of the poem at issue, in the tone of voice that they hear. Let
other students evaluate whether the poem makes emotional sense when said that
Lesson Plan 2 : In Another’s VoiceIntroduction One of
the tools available to poets is persona, the choice to enter into a voice that
is not the writer’s own, whether it is a person who lives in another time or
place, a person at another stage of life, a person whose experience has been
different from the writer’s—or not a person at all, perhaps an object or an
animal. In this way, the poet sees the world through other eyes; speaking
directly to the reader, the persona helps us see the world differently as well.
This is a distinction from dramatic monologues in which the speaker addresses a
silent listener who is usually not the reader. In Poetry Out Loud, the
performer is already entering into another voice, the poem’s voice; but a young
person new to poetry may have difficulty inhabiting that voice. In persona
poems, the writer gives explicit cues to help the reader imagine the speaker,
so these poems will support students in preparing their recitation. Persona
poems often have dramatic elements, which will help students work on the
“dramatic appropriateness” of their performance.Learning Objectives Students will learn how to · analyze the
poet’s characterization of the speaker in each poem; · analyze the ways in which the poet suggests a dramatic
situation or narrative for its speaker; and adapt his/her speech to the task of
recitation. In addition, if you choose the literary writing extension, students
will be able to: · write an
effective persona poem of their own. If you choose the academic writing
extension, students will be able to · compare two persona poems, making a claim that is true
of both poems and supporting that claim with textual evidence. Materials and Resources To teach this lesson you
will need: · A computer with
speakers; if possible, a laptop cart with earphones · Printed copies
of the poems you select from the Poetry Out Loud Anthology
selections: § John Berryman,
“Dream Song 14” (Paul Muldoon reading this poem with others by Berryman https://www.youtube.com/watch?v=QfvwNnKXZc8)
§ William Blake,
“The Chimney Sweeper: When my mother died I was
Activity Description Day 1:
Model 1. Group your students (groups of 2-4) according to their learning needs,
and choose poems that are appropriate to each group of readers, based on
reading level, students’ interests, etc. Include at least one poem where the
speaker is not human, and you might include a poem by Brenda Cárdenas or Victor
Hernández Cruz if you have students with some knowledge of Spanish. 2. Model an
approach to one of the poems: a. Choose one of the poems for which you have
an audio performance, one that is most appropriate for your cohort as a whole.
Distribute copies of the poem and ask the students to think about who is
speaking in the poem while they listen—not who is performing, but who is the
dramatic character.b. After
they listen, have them read the poem silently to themselves, annotating the
text with the same lens: who is speaking, and how does the poet let us know who
the speaker is? What lines show us different aspects of this speaker? What is
the dramatic situation in which the speaker finds himself/herself? c. Have
students meet in small collaborative groups to share their annotations and
develop a group description of this speaker. Listen to the discussions and
guide the students’ understanding. d. Small
groups report out to the whole class, with the teacher leading the discussion
towards a full understanding of the speaker. Introduce the terms “persona” and
“voice” in this discussion, as some of the tools that poets have available to
them. e. If
time permits, you can begin the guided practice on the first day; description
is included in Day 2.Guided
practice 3. Remind students of the work they’d completed on the first poem and
invite them to read a new set of poems in the same way. Have them think about
who is speaking in the poem and describe the dramatic situation in which the
speaker finds himself/herself. a. Assign each group another poem. Providing
laptops and earphones so students can listen to a performance would enhance
their experience, but is not necessary. b. Invite them to go through the same process
in their groups, listening first if possible, reading silently while
annotating, then discussing. The discussion should focus on developing a
description of the speaker and of his/her dramatic situation. Students should
be able to identify the lines that led them to understand the speaker and
his/her situation. c. Their
discussion will allow the students to prepare to read the poem aloud, which
they can do in the way they feel is most effective: one voice or several
voices, together or sequentially or in a pattern that moves between one and
3 : Poetry,
Celebrity, and the Power of Connotation Learning Objectives: In this lesson, students will have
opportunities to • Read
and discuss poems that invoke Abraham Lincoln • Decide
which associations with that name are relevant to the poem (there will not be a
single “right answer,” but several) • Learn
several contrasting rhetorical “moves” that poets make by invoking famous
figures • Find,
present, and discuss comparable “name-dropping” poems from the Poetry Out Loud
website • Write a “name-dropping” poem themselves, using one or more of the
rhetorical moves they have learned Materials and Resources: To teach
this lesson you will need: • Access for students to the Poetry Out Loud
anthology in its print or on-line versions, preferably both
Activity Description 1. Introduce students to the idea that poems
use the names of famous historical figures— politicians, performers, explorers,
etc.—as a kind of shorthand. Readers are not just supposed to recognize the
names, but also to have associations with those names that are somehow relevant
to the poem. 2. Ask students to brainstorm the ideas,
values, or events that they or other people might associate with the name
“Abraham Lincoln.” (Including “other people” is helpful, as students can often
imagine someone else having associations that they don’t actually have
themselves.) Students might come up with associations like these: • “Freed
the slaves” (this may provoke some argument) • Civil
War, or “Saved the Union” •
Gettysburg Address • Assassinated, died before his time, before
he could bring the country back together • A self-made man: went from log-cabin
to White House • A sad
man, or a melancholy one • On the penny and the five-dollar bill
Lesson Plan 4:Golden ShovelLearning Objectives In this unit, students will have opportunities
to: • Read a
wide range of poems from the Poetry Out Loud website • Discuss
what makes language interesting and surprising (i.e., what makes a “striking
line”) • Discuss the importance of word choice in
poetry and what makes an intriguing or memorable word choice • Learn a new poetic form—the Golden Shovel • Read
and discuss sample “Golden Shovel” poems • Apply a “borrowed” line from a poem to
create one’s own Golden Shovel poem • Learn
and apply public speaking skills • Read a
Poetry Out Loud poem, along with an original poem for his/her classmates in a
supportive environment Resources
and Materials To teach this unit you will need:• Copies
of the poems provided at the end of this lesson • Student
access to the Poetry Out Loud website • Lots of whiteboard or chalkboard space • Paper
and writing utensils
Session One This session will help students determine what
lines and word choices stand out in good poetry and will provide background for
writing their original poetry. It will also introduce the Golden Shovel form. 1.
Discuss what makes a “striking line” in literature (i.e., a line that is especially
interesting, surprising and original; that jumps out at the reader; and/or that
makes the reader think). 2. Read
Jane Cooper’s “Hunger Moon” aloud. Then have students read it silently, while
underlining striking lines. For example: “The last full moon of February /
stalks the fields” “barbed wire casts a shadow.” “it advances on my pillow”
“with the cocked gun of silence.” “The moon, in pale buckskins, crouches” “all
the fences thrum” 3. Next,
discuss the importance of surprising/unusual word choices in poetry. Have
students underline those words from the striking lines on the board (i.e.,
“stalks,” “barbed,” “crouches” and “thrum”). 4. Repeat the process using sections from
Gwendolyn Brooks’s “The Blackstone Rangers.” 5. Read Gwendolyn Brooks’s “We Real Cool.” If
you have time, you may play Ms. Brooks reciting the original poem:
(http://www.poetryfoundation.org/features/audioitem/2264). Then have the
students read Terrance Hayes’s “The Golden Shovel” aloud. Ask students to look
for anything unusual about the form and see if anyone notices that Brooks’s
poem, “We Real Cool,” is laid out vertically at the end of each of Hayes’s
lines. If no one figures it out without a hint, point out that it is “after
Gwendolyn Brooks” and explain what enjambment means (“unnatural” line breaks,
or “The running-over of a sentence or phrase from one poetic line to the next,
without terminal punctuation; the opposite of end-stopped” (per the Poetry
Foundation website). After a few minutes, point out the form that Hayes has
Finally, students should read at least three poems of their own from the Poetry
Out Loud website and make note of striking lines that include surprising word
choices. They should complete for homework, if need be.
2- You will need to create a worksheet for
at least one of those lessons.
3- At least one of the lessons must require
students to use a computer.
Lesson Plan : The Power of Poetry
Materials Required: Internet
accessable computers, word processing and draw programs, 8 1/2 X 14 inch
Activity Time: 1 to 2 weeks
Concepts Taught: Students will
utilize the Internet to research figures of speech used in poetry and poetry
Students will develop literacy skills as they use the Internet to access
poetry. Students will use a range of technology to analyze, evaluate, and
interpret figurative language. The Internet and other computer applications
will be introduced and used. The teacher may wish to provide Internet sites
prior to student investigation.
Students will research figures of speech and poetry terms using the
Students will create a poetry anthology covering a list of poetry terms using a
word processing program and draw pictures on a draw program about selected
Students will copy and paste a poem found on the Internet by a particular poet.
They will use a multimedia/paint program to illustrate the poem. They will
write a paragraph explaining why a particular poem was selected and correctly
cite the Internet resource.
Students will make a mini-book incorporating skills previously taught.
1. Students will define the following poetry terms, give examples of
each, and copy and paste the url’s where student’s found the information.
2. Students will create a poetry anthology with the terms. The poems must
be copied and
pasted into a word processing document giving the url and correctly citing the
work. Students will illustrate each poem.
3. Students will create a folded mini-book. This is done in a draw
program and incorporates previously taught skills. Students will create their
own poems to use in the folded mini-book.
Evaluation: Students will be graded using a rubric that indicates to
what degree of success the students were able to correctly complete the
anthology and folded mini-book.
If you would like directions for the folded mini-book or need more
details, please e-mail me.
4- At least one lesson must utilise
Counting Numbers 1-10
Addition and Patterns of 1 More
Materials and Preparation
10 Apples Up On Top
10 Apples Up on Top set attachment
You may include student’s pictures on each page, or simply paste
their picture on the last page and cut previous pages above area where photo is
visible (this is most helpful for individual books)
Red bingo dabber or red ink pad
Bingo chips or counters, 10 per student
Related Books and/or Media
GAME: Speed Counting 1-10
Students will be able to represent putting together and addition
concepts by adding 1 to previous numbers up to at least 10.
Introduction (10 minutes)
Read 10 Apples Up On Top!
Advise students to note the concept of addition by noticing
“1 more” when it is mentioned in the story.
Explicit Instruction/Teacher Modeling (5 minutes)
Draw a face on the board.
Have students count along as you add an apple shape one at a
Label the apples from 1-10 as you go.
Guided Practice/Interactive Modeling (5 minutes)
Have your students add by 1 with bingo chips or counters as you
add by 1 as a group.
Independent Working Time (10 minutes)
Tell your students you will be making a book. At this point you
will either provide your students with the template packet individually or work
on a class book as a group.
Use the Bingo dabber or students’ fingerprints from the ink pad
to add the corresponding amount of “apples” for each subsequent
If creating a class book, you may have the students follow along
with their bingo chips or counters.
Enrichment: For advanced students, they may be able to work
independently or label the number on the page.
Support: For students who require support, you may use hand over
hand assistance, pair them with a student with a stronger grasp of the concept,
or provide them with manipulatives to aid the addition process.
Write a 1,500 word discussion
about how you, as a teaching assistant, could help to implement the mini-unit.
Working Time (10 minutes)
Tell your students you will be making a book. At this point you will either
provide your students with the template packet individually or work on a class
book as a group.
Use the Bingo dabber or students’ fingerprints from the ink pad to add the
corresponding amount of “apples” for each subsequent number.
If creating a class book, you may have the students follow along with their
bingo chips or counters
Use strategies that encourage independent learning. Things to avoid include
high use of closed questions and over-prompting or ‘spoon-feeding’; strategies
encouraged include helping students take ownership of a task by giving the
least amount of help first, and helping them feel comfortable taking risks with
When you’re planning a lesson or unit of work, one of the things you’ll be
thinking about is how to make the best use of the resources available. Aside
from educational equipment, this also includes expertise in the shape of
teacher aides and other classroom support staff.
Engage in real-world problem-solving and design tangible solutions, creating a
purpose and motivation to learn.
I would also divide the children in a small groups of 4’s. Get their ideas in
Don’t tell the student “slow down” or “ just relax.”
Don’t complete words for the student or talk for him or her.
Help all members of the class learn to take turns talking and listening. All
students — and especially those who stutter — find it much easier to talk when
there are few interruptions and they have the listener’s attention.
Expect the same quality and quantity of work from the student who stutters as
the one who doesn’t.
Speak with the student in an unhurried way, pausing frequently.
Convey that you are listening to the content of the message, not how it is
Have a one-on-one conversation with the student who stutters about needed
accommodations in the classroom. Respect the student’s needs, but do not be
• Carry out speaking and listening
observations of the whole class or targeted children.
• Read/introduce the lesson starter.
• Be a partner to a child.
• Set up reading records/journals
• Ensure resources that are needed
for the lesson are available in order to support targeted children.
• Further differentiate materials/resources
to enable SEN children to achieve lesson objective.
• Support children to aid their
understanding/answering of oral questions.
• Guide/support children through the
reading/explanation of a text/worksheet.
• Record children’s assessments.
• Collect, record and mark homework
and mark tests
• Prepare review information for
the main part of the lesson, TA’s should:
• Take a proactive role and use
initiative within the classroom.
• Support/aid/track the learning of
statemented children and those on School Action and School Action Plus.
• Implement action written in IEP’s
and support staff through discussion of children’s individuals needs with
regard to their IEP’s
adapt/differentiate/extend/modify specific tasks/activities for SEN children in
order for them to achieve success and meet their needs.
• Test identified children in order
to provide evidence of progress: reading, spelling, phonic, memory test etc…
• Support a group of statemented/SEN
registered children to achieve the task/objective set.
• Support/adapt the curriculum to
meet the needs of SEN child.
• Teach/support children to achieve
their IEP objectives or Speech/Language Therapy targets.
• Lead/deliver specific teacher
directed activities/programmes of work with SEN children.
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