This user hasn't shared any biographical information
I created these slides to use next year in my English curriculum teaching. The idea I am using them to underpin is that an English teacher is expected to have ‘superpowers’ across a range of canonical/literary types of text (the traditional categories of study: poetry, prose, drama) as well as newer textual fields that have come up since that initial period (film, tv and other screen texts, media and new media).
At the same time as finishing these slides, I am audio-reading Wundersmith: The calling of Morrigan Crow by Jessica Townsend. It is Book 2 in the Nevermoor series. I love it and would love my pre-service teachers to think about what their ‘knack’ is, in terms of studying or creating texts, so they can focus on developing it during their degree.
Whether you want to think about textual expertise as a superpower or a knack…
English teachers – how many knacks do you consider you have?
Everyone – how many text areas from the graphics above would you say is desirable for an English teacher’s expertise to cover?
For me, demands to attend to the concept of ‘praxis’ in my work come from two main directions – my English educator community, and my Arts education colleagues.
This post captures my current ways of understanding praxis in relation to my work.
- Doing praxis means you are basically in a constant state of action research: https://en.wikipedia.org/wiki/Praxis_(process)#Education
- Praxis describes practice that is informed by theory, not generally, but purposefully (and perhaps systematically?)
- Praxis is underpinned by the belief that theory is understood through its realisation in practice, that proof of and improvements to theory are found in application
- So basically, all your practice gets explicitly framed by theory (and it’s therefore interesting to notice the texts and contexts that this ‘explicit’ framing happens through…is this also self-governance? is action research actually a self-review and reporting cycle to check for theoretical ‘compliance’, to conduct strategic planning in line with ‘vision and mission’??)
- …and you can reflect on your theoretical position by observing and analysing it’s application in your teaching (requiring a personal plan or framework for collecting valid evidence)
- It’s part of the answer to “so can I just tip a can of paint on a canvas and call it art?” – no. Artistry responds to other art, to discourses. Teaching becomes ‘art’ when there are processes for reflection
- In Vis Arts the VAPD is offered as a technology that enables praxis – study art, respond and experiment, create new art, repeat. This process became internalised, the VAPD supported cultivation of a praxis mindset/discipline. What does English offer? What does ITE offer English PSTs?
- How do the ruling texts of an institution shape praxis? Good question. Thinking about this.
Questions that linger:
- How does praxis differ from “reflective practice”? (is it because the later divorces the elements ‘reflection’ and ‘action’, when they should always both be
- This reminds me of the Action in/on Reflection scholarship from my undergrad/accreditation contexts. How is this different to ‘praxis’? Is Reflection in/on practice just the language teachers need to comprehend and embark on praxis?
- How do practitioner inquiry and action research methods facilitate ‘praxis’?
- Does changing the discourse from ‘praxis’ to ‘reflection’ constrain teacher agency? i.e. maybe reflection can be limited to self-reflection e.g. to better meet KPIs, doesn’t necessarily involve system-reflection or critical reflection…or this is an artificial distinction (?)
- Do I vibe with project based learning because it scaffolds praxis instead of practice?
- How are the praxis intensives at Bianca’s school more praxis-y than PBL (I think she and I agreed they are not more or less praxis-y, just needed a different name)? Is it problematic to label the week-long intensive projects ‘praxis’ if the received meaning is that other pedagogies (e.g. PBL) do not require praxis?
- When you practice you are a practitioner, when you praxis (do praxis?) you are a …? Praxitioner? (note to self: praxitioner as #medium)
I thought I knew the Australian Curriculum for English almost inside out, but recently discovered a whole new box I had been leaving un-ticked.
It was the ScOT box.
What does ScOT stand for, you ask?
Schools Online Thesaurus.
If you go to their homepage (http://scot.curriculum.edu.au/) you can search for a relevant term to your field and see what you get. I searched for ‘literature’ and was directed to this:
…you can see some of the rabbit holes I’ve been down from there already.
I found such useful things in the thesaurus for the work I’m doing this week.
I also found the other data sets available in the Australian education vocabularies list:
For the English teachers still playing along – see ‘language modes’ in the list? Kinda specific thing to make a vocabulary about, I thought.
I clicked though and interestingly, the entry does not reflect all six language modes in the Australian Curriculum.
‘Creating’ has been left out.
Creating has been left out, despite being there plain as day in the Achievement Standards, the Aim, and the Glossary entry for ‘mode’ in English.
And there ends the list of all the things I needed to stop and show you.
Who I do I write to, to point this out?
Enjoy the thesaurus!
Ali Alizadeh is a poet listed on the prescribed text list for the senior English/EAL courses in Queensland from 2019-2021.
He is an Iranian-Australian (Persian-Australian? would appreciate any correction in comments), currently living in Melbourne and working at Monash university.
Both my creative writing and my literary scholarship interrogate the collisions between the political, the personal and the historical. Radical subjectivity, philosophies of history and theories of art are of particular interest to me. (Alizadeh’s bio, July 2018)
I searched for some preliminary resources for teachers wanting to learn about Ali Alizadeh, and here is what I found:
- Staff profile for Alizadeh at Monash University: http://profiles.arts.monash.edu.au/ali-alizadeh/
- Poetry International Web bio (with several linked articles): https://www.poetryinternationalweb.net/pi/site/poet/item/14574
- Poetica episode from 2nd November, 2013 (39 mins): http://www.abc.net.au/radionational/programs/archived/poetica/ali-alizardeh/5026248?
- Writers Victoria – Ali Alizadeh interviewed by Michelle McLaren, 24 May 2016: https://writersvictoria.org.au/writing-life/on-writing/exploring-the-distance-between-now-and-then
- Overland article – by Tara Mokhtari, June 2011: https://overland.org.au/2011/06/ali-alizadeh%E2%80%99s-%E2%80%98ashes-in-the-air%E2%80%99/ (loved this article!)
- Australian Book Review – review by Gig Ryan, April 2011: https://www.australianbookreview.com.au/abr-online/archive/2011/241-ali-alizadeh-ashes-in-the-air (full article is paywalled)
The earlier two volumes are called:
eliXir: a story in poetry, Grendon Press, Mont Albert, 2002
Eyes in Times of War, Salt Publishing, Cambridge, UK, 2006
A sample of Alizadeh’s poetry (poem extract):
Yes, I understand
your language. I’ve been learning
the lexicon of my inferiority
from behind the bars. I now know
how to spell and pronounce
the terms of my slavery. Your shackles
are called Security; your war
Operation Freedom; your cluster bombs
food parcels for my children. O master,
(extract from ‘Your terrorist’ (2006) on Poetry International Web: https://www.poetryinternationalweb.net/pi/site/poem/item/14577)
An extract from Mokhtari’s Overland article:
What really does it for me about Alizadeh’s poetry is that his subject matter is important. These poems are unlikely to bore a reader who shies away from the overtly political because they also engage in everyday scenarios and experiences. Alizadeh’s poems about cultural displacement take a different approach from many other Australian poets who write on the same theme but tend to dwell in the realm of sentimentalism (a natural, valid treatment of the theme, but one which may risk alienating un-empathetic readers). It’s as though these poems have ‘gotten over it’ just enough to allow a more sophisticated depth of knowing and exploration of the subject through everyday representations, without compromising emotion.
If you know of other resources that would interest Queensland English teachers who are considering Alizadeh’s poetry for QCE study, please consider sharing your links/info in comments below. Thank you!
In semester 1 this year (just finished!) I undertook making a few vlogs about my teaching experience as a lecturer at uni.
The results are here:
- Week 1: https://www.youtube.com/watch?v=c0S6VL2uCq8&t=1s
- Week 2: https://www.youtube.com/watch?v=2xB0pCY7_lg&t=41s
- Week 3: https://www.youtube.com/watch?v=GtTMBjFMi4c&t=1s
- Weeks 4-6: https://www.youtube.com/watch?v=8RzrDlj2O-g&t=2s
I’ll be using these vlog ‘reports’ as the source material for an end-of-semester reflection vlog. You are welcome to watch them in the meantime and add questions or ideas as comments to push my thinking.
One of the best parts of making these vlogs are the connections I am making with the Australian edu-tube community as I go. We have a decent sized Facebook group, a few of us are active on Twitter, and people are really good about watching and commenting on each others videos.
Some people are ‘teacher-tubers’, teachers who are currently working in schools and making YouTube videos about it (or for it). Others like me are educators from other contexts, from higher education, or community groups, the GLAM sector, public artists and art-based educators. We’re still feeling out the boundaries of this group, as a collective. It’s an energising space. A few of us are meeting up this year again at VidCon Australia.
One of my subscribers asked if I could make a video about how to do a 4-R style reflection, which I mentioned in one of the vlogs. This is definitely something I want to get to before semester 2 starts.
In the meantime, if you want to watch me trying to capture some teaching practice, be my guest: