Download Literacy through Creativity (Informing Teaching) by Prue Goodwin PDF
By Prue Goodwin
A clean and useful method of interpreting the way artistic arts can be utilized within the school room to augment the training of literacy within the basic institution through: together with case reviews and actions that make clear the position of creativity in literacy educating; and advising how you can enhance instructing abilities, and accordingly self assurance, during this quarter.
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Extra info for Literacy through Creativity (Informing Teaching)
Not all children want to dash about or kick a ball around’ and recognised this on her own playground, ‘the field allowed the children to vary their play. The field is a very large open space with lots of trees and bushes on the edges. These areas provided large spaces for children to make dens and turn these areas into imaginary spaces. I saw these areas as houses, badger sets, war bunkers and space ships . . ’ (Lorraine 2003). Conclusion What do trainee teachers learn from playground observation?
National Curriculum Handbook for Primary Teachers (1999). London: DfEE. Ofsted (2002) The Curriculum in Successful Primary Schools. London: Ofsted. Ofsted (2003) Expecting the unexpected. London: Ofsted. QCA (2003) Creativity: Find It, Promote It. London: QCA. Rogers, R. ) (2000) All Our Futures: A Summary. London: National Campaign for the Arts. uk/artsalive 19 Chapter 2 The body of learning: the eight senses in literacy and creativity Ann Whittle The body as a tool-kit The body is the ultimate tool-kit for learning.
If we take seriously the need to sustain children’s confidence in themselves as learners, the principles articulated in these studies need to be the basis for ongoing assessment. e. it must be criterion referenced rather than norm referenced; ■ the evidence it provides must be acted on if teaching is to be tuned to the range of pupils’ individual developments. (p. 113) Observation of the process of carrying out a task, of the strategies a child is using and the mistakes he or she is making is often more important than the final product which may not reflect the thought which has taken place.