102098 CONTEMPORARY

TEACHER LEADERSHIP
Assessment 1: Report

2H 2019
HANNAH MAHONEY
17426552


CONTENTS
Executive Summary 2

a. Objective and context 2

b. Goals 3
c. Recommendations 3

Part I- Comparative Table 4

Part II- Report of Recommendations 6

Part III- Reconstructed Unit 10

a. Scope and Sequence 10

b. Concept Map 11
c. Redesigned Unit Outline 12
d. Assessment Task and Marking Criteria 32

References 36

Appendices 39

a. Original Scope and Sequence 39

b. Original Unit Outline 40
c. Original Assessment Task and Marking Criteria 57

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EXECUTIVE SUMMARY

Objective and Context

This report has been designed for the English Faculty of Liverpool Girls High School, in
Western Sydney. Liverpool girls High School is an extremely culturally diverse school with
88% of students from a language background other than English. The school acknowledges
this diversity and provides students with lower levels of academic English the ability to
improve in a specialised EAL/D classroom. Although this classroom does not have a specially
trained EAL/D Teacher, they are provided learning support with a full-time support teacher
and class sizes are generally much smaller compared to mainstream classes. Liverpool Girls
High School can also be considered a school consisting of students from low-socioeconomic
backgrounds as 61% of students come from backgrounds where their socio-economic
advantage sits in the bottom quartile, compared to other similar schools within Australia.

This unit was taught to a year 11 EAL/D specialised class, where majority of the students
come from a culturally diverse background and some have been recognised as refugee
students, who have gone through some trauma to be in Australia today. The Australian
Literacy and Numeracy foundation (ALNF) recognises that many of these students have had
very disrupted educations in their mother country and therefore continue to struggle with
their education in another country that does not favour their first language. Considering
this, I also had the pleasure of working with these girls from year 11 and a specialised EAL/D
year 8 class within the Refugee Action Support Program, coordinated by Western Sydney
University, ALNF and the NSW Department of Education.

Reference: Statistics and tables below are retrieved from the MySchool Website. Retrieved from:
https://www.myschool.edu.au/school/41557

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Goals

The main goal of this report is to provide a more comprehensive unit of work for students
from an EAL/D background. Many mainstream English teachers are put in the position of
teaching students with EAL/D but not having specialised in this area (Alford & Jetnikoff,
2011). Through the research conducted and for the purpose of improving this unit, the main
goal is to provide the average English classroom teacher with a unit of work that addresses
many of the learning needs of EAL/D students, which can be modified for individual
classroom use. These goals will be more comprehensively outlined in the recommendations
section below and further in the report, but will include;

Recommendations

The following recommendations are catered for the needs of an EAL/D class for year 11
English, although many of the changes presented could also be implemented across stages
and learning needs. The emphasis on the changes will be around literacy development.
While the various levels of scaffolding and guided reading and writing within the changes of
the unit are vast, it is important to remember that these students should still have access to
“high-challenge” (Alford & Jetnikoff 2011, p. 14) learning. Therefore, the adjustments made
focus on critical literacy and inquiry-based learning, using multiple modes of learning to
enhance student’s ability to comprehend meaning, without necessarily possessing a high
level of academic English. Consequently, the recommendations within this report include;

- Focusing on student’s time to practice writing academically. Including persuasive,

reflective and creative writing,
- Building vocabulary awareness, connected to the big ideas of the unit,
- Enhancing critical literacy throughout the unit,
- Implementing more multimodal learning elements to the learning plan,
- Using more inquiry-based questioning to develop students’ perspectives and point of
view,
- Implementing the Understanding by Design (UbD) framework to re-consider the big
ideas of the unit and using backward mapping to more clearly understand what the
students should know by the end of the unit.

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 COMPARATIVE TABLE

Area of Strengths of the area of Concerns of the area of Suggested Changes to counteract concerns Research support for the
considera consideration consideration changes suggested.
tion

Teaching of concepts, Students time to practice
motifs and cinematic their personal, critical and
Literacy techniques creative writing.
Scaffolding literacy Students understanding of
understanding context, composers’ power
in positioning the reader and
manipulating
representation.
Dates and periods of time Understanding of timeline of
associated with the context in a highly
Numeracy context of the film scaffolded way
Creating a narrative Students being able to
timeline visualise Vietnam during the
1960’s in relation to the film
Extended amount of time spent on developing students Cox, O’Brien, Walsh & West,
personal, critical and creative writing. Connecting to 2015. Discusses growing
ideas of narrative. Using more types of writing, including vocabulary awareness of
essay, reflection & creative writing. Therefore, building multilingual learners.
students vocabulary awareness.
Kinsey & Moore, 2015. Using
narrative structure to engage
students in inquiry-based
learning.
Building on students’ critical literacy around context and Alford & Jetnikoff, 2011.
the power of texts that represent perspectives of the Provide examples of how
past. mainstream teachers can
improve their practice and cater
to EAL/D students.
Creating a timeline of context, supported by aspects of ACARA, 2011. General
multimodal learning. capabilities, Numeracy.
Walsh, Durrant & Simpson,
2015. Examines the multimodal
nature of the 21st Century and
its ability to cater to the
learning of multilingual
students.
Providing a map of Vietnam and Australia and ACARA, 2011. General
documenting the Sapphires journey. capabilities, Numeracy.

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 Students were in an Over emphasis on cinematic Enhancing oral talk and contextual elaboration within Alford & Jetnikoff, 2011.
Critical environment were techniques, glossary of the classroom, asking students to form opinions and Provide examples of how
and questioning was accepted words. participate in debates mainstream teachers can
Creative improve their practice and cater
Thinking to EAL/D students.
Multimodal assessment Limited Inquiry-based More inquiry-based questioning to complement each Buckner & Kim, 2014.
allowed students to think questioning task within the unit Investigates the relationship
creatively, using ICT and between ICT and effective
other platforms. inquiry-based learning and the
significance of inquiry-based
questioning.
Students investigate the Emphasis on students Case study analysis of an individual from the stolen ACARA, 2011. General
Ethical context of the film and ethical understanding of the generation/ Vietnam War, questioning the ethics capabilities, Ethical
Understa learn about events such as Vietnam War, stolen Understanding.
nding the stolen generation. generation, racism.
EAL/D students from Students personal Context knowledge of Indigenous histories and their ACARA, 2011. General
refugee backgrounds could connection to the ownership of the land, questioning the ethics of how capabilities, Ethical
relate to some aspects of Indigenous actresses’ Indigenous people were treated and how that still Understanding.
war in Vietnam. permeates the 21st century in Kevin Rudd’s sorry speech.
Assessment was related to Students desired outcomes Re-addressing the big questions asked throughout the Yurtseven & Altun, 2016. Using
learning plan. Addressing being addressed prior to unit and if this relates to the learning that students the UbD framework in Foreign
Understa ideas of composer learning plan and should achieve by the end. language learning and its
nding by influence on representing assessment benefits.
Design main characters
Learning plan Students ability to transfer Looking at ways to connect the unit to students’ own Trapani & Annunsiato, 2018.
demonstrated flow and a what they have learnt into experiences and how this knowledge informs their ability The UbD framework and its
connectedness to what the 21st century to be active citizens in the community. Their ability to relationship with ideas of
students should know at ‘transfer’ knowledge to other disciplines. ‘transfer’.
the end of the unit.

RECOMMENDATIONS

The original unit of work was quite limited in detail and was not accompanied by a scope
and sequence. While I was fortunate enough to develop the assessment task and marking
criteria with my mentor teacher, a copy was not able to be retrieved. Although the scope
and sequence and assessment task used for this report have been modified and aligns well
with the redesigned unit of work. Further, it is important to mention that the unit was used
as a guide during its teaching and was modified considerably to suit the needs of the
individual class during this time. Therefore, the main goals of the reconstructed unit are to
provide the missing scope and sequence and concept map, along with delivering a more
detailed unit of work, catering to the learning needs of students from EAL/D backgrounds,
which heavily addresses literacy capabilities. Moreover, the reconstructed unit has
implemented a more inquiry-based learning approach and ideas presented in the
Understanding by Design (UbD) framework to elevate the unit’s relevancy toward modern
ideas of pedagogy and planning.

Catering to EAL/D learners

With the flux in migration of peoples to Australia, many young, migrant students are coming
into the Australian school system, which prioritises the study of academic English. Meaning,
the demand for teachers who specialise in teaching English as a second language have risen
considerably, but without the numbers to support this. Therefore, many mainstream English
teachers are now taking on the responsibility of teaching students from EAL/D backgrounds,
without the proper training (Cox, 2015, p. 19). Highlighting the reason why the
reconstructed unit looks to provide a more detailed account of teaching and learning for the
needs of students from EAL/D backgrounds. Alford and Jetnikoff (2015) conducted a study,
analysing the ways in which specialised EAL/D teachers, teach. Through their study they
highlight that EAL/D students need “high-challenge” (Alford & Jetnikoff, 2015, p. 11)
teaching, which includes focusing on a critical literacy approach. Janks (as cited in Alford &
Jetnikoff, 2015) employs a four-level model for applying critical literacy in the classroom.
The four-level model for critical literacy includes features such as dominance, access,
diversity and design (Alford & Jetnikoff 2015, p. 15). Through Alford & Jetnikoff’s (2015)
study and the ideologies of Jank’s (2010) critical literacy, specific features of critical literacy
teaching were formed, and have been used as the basis for the changes made in the
reconstructed unit. These features include;

1. Using multimodal texts- connecting to youth cultures

2. Contextual elaboration

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 3. Focus on writing from the outset
4. Active engagement through talk.

(Alford & Jetnikoff, 2015, p. 15-18)

All these features have been utilised in the reconstructed unit. Multimodal texts that
connect to youth culture have been added through the task of viewing and forming an
opinion on the Kevin Rudd sorry speech in 2008 (see hyperlink in reconstructed unit).
Allowing students to connect more to the unit of work and see its relevancy in their life’s, as
indigenous identities and histories are still a contested concern in our modern society.
Contextual elaboration was already prevalent within the unit but has been utilised further
through student’s ability to choose between oral presentations of their learning/writing and
the “scaffolding” (Gibbons as cited in Alford & Jetnikoff, 2015, p. 16) of many tasks, through
accompanying worksheets, providing further information for students to complete tasks.
One of the main areas that has been reconstructed in the unit is student’s ability to practice
academic writing. All writing activities have been scaffolded heavily, with a large focus on
extended responses towards the end of the unit, to align with the summative assessment
(demonstrating UbD- backward mapping). Walsh et al. (2015) highlights that is important
for students from EAL/D backgrounds to understand the distinction between social and
academic writing (p. 68). While, Alford & Jetnikoff (2015) illustrate the need to have a
strong focus on sentence grammar and text structure in order to convey their ability to think
critically, in the form of writing (p. 17). Considering EAL/D students need for a focus on
academic writing, ample practice time with teacher feedback, support and scaffolding has
been intensified within the reconstructed unit of work. Students have also been offered the
opportunity to engage with learning and knowledge in highly verbal ways on a whole class,
group and paired level, as Cronje (as cited in Alford & Jetnikoff, 2015) suggests that EAL/D
students need to learn not only to actively listen but practice to voice their experiences,
stories and points of view (p. 4). Lastly, EAL/D students need for high challenge learning,
means ideas of critical literacy have also been utilised within the reconstructed unit of work
(linked to the critical and creative thinking, general capability). Alford & Jetnikoff (2015)
suggest that to teach critical literacy students must be provided with the means to unpack
texts and their semiotic choices, to reveal “power relations and ideologically-motivated
reader positioning” (p. 12). Therefore, this unit looks to provide students with ample time to
unpack and address ideas of power and reader positioning, often determined by the
composer. Consequently, students then have the ability to address the beliefs, motives and
assumptions of the composer and how this alters representations.

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Inquiry-based learning

Inquiry-based learning has been suggested to have come from a constructivist approach to
teaching (Bukner & Kim, 2014, p. 101). If we understand that inquiry-based learning and
constructivist theory are closely linked then we can understand that inquiry-based learning
embodies students’ ability to unpack and discover content themselves (Cole, 2009; Yu, Liu &
Chan 2005, as cited in Buckner & Kim, 2015, p. 101). This can be difficult to implement for
EAL/D students when educators must also highly scaffold and provide contextual
elaboration. Although, with the assistance of ideas of critical literacy and students
developing understandings of composer power, reader positioning and representations,
educators can provide a platform for students to embrace their own inquiry and unpack
these ideas. Therefore, within the reconstructed unit of work, inquiry-based questioning has
been used throughout to spark curiosity and personal opinion in students. This is so as
Buckner & Kim (2014) highlight that posing questions gives students the ability to gain
powerful meta-cognitive skills, including analysing sources and monitoring their own gained
knowledge (p. 101). Moreover, inquiry-based questions have been accompanied by a
weekly reflective journal activity that addresses these questions, giving students the ability
to practice reflective writing and cement their new knowledge acquisition. Lastly, along with
a weekly reflective journal, each task within the reconstructed unit is accompanied with a
weekly vocabulary list. This vocabulary list is used to develop student’s ability to use and
understand the power of words in specific context (Cox, O’Brien, Walsh & West, 2015, p.
77), growing the English vocabulary awareness of students from EAL/D backgrounds.
Further, these questions have aimed to align with the outcomes of the unit and the
knowledge students are expected to know in completing their summative assessment,
demonstrating a connection to UbD and backward mapping.

Understanding by Design

McTighe & Wiggins (2011) highlight the Understanding by Design (UbD) framework as a
planning tool that focuses the curriculum and deepens the learning of students (p. 1).
Specifically, UbD focuses on backward mapping of curriculum in three stages to achieve the
six facets of understanding, including; explain, interpret, apply, shift perspective, empathise
and self-assessment (p. 1). The reconstructed unit of work looks to apply the three stages of
UbD through identifying desired results, determine assessment evidence and planning
learning experiences and instruction (McTighe & Wiggins 2011). Identifying desired results
has been applied in the reconstructed unit through the concept map and through the
research conducted into the needs of EAL/D students in mainstream classrooms; which
informs the changes made. Determining assessment evidence is seen through the redesign
of the assessment task and marking criteria to reflect the desired results of the unit, this
includes improving EAL/D students’ outcomes in academic writing and critical and creative

8
thinking, linked to critical literacy and personal inquiry. Lastly, planning and learning
experiences was the final factor to be reconfigured in the unit, so that the unit now displays
a clear connection to the desired results of the unit and the assessment evidence that
students will achieve. Further, the reconstructed unit looks at the idea of ‘transfer’
embedded in UbD and how students can transfer what they have learnt in the unit to other
aspects of their lives (Lightner, Bernander & Kramer, 2008 as cited in Trapani & Annunsiato.
2018). For students from EAL/D backgrounds, the idea of transfer can be applied to the
redesigned assessment task and includes the transfer of new knowledge within academic
writing, along with critical and creative thinking and ethical understanding for the
Indigenous Australian’s within our history.

Overall, through the implementation of critical literacy, academic writing, vocabulary

awareness, multimodal learning, scaffolding and elaborate verbal talk. Accompanied by
inquiry-based questioning and planning using the UbD framework, the reconstructed unit is
able to be relevant and well-structured in catering to the needs of students from EAL/D
backgrounds, and the needs of English teachers in the mainstream classroom. In a modern
world where our society represents the varied lived experiences of people from all
backgrounds, it is important for English secondary teachers to be aware of, and have the
capacity to provide an educational experience, that is relevant and deep for the 21st century
student (Cox, 2015, p. 19). The redesigned unit allows deep knowledge to be acquired and
more importantly can be used as a model, which can be modified for individual classroom
use.

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RECONSTRUCTED UNIT

Scope and Sequence

Sample Scope and Sequence: English EAL/D – Year 11 (A)

Sample for implementation for Year 11 from 2018

Week 1 Week 2 Week 3 Week 4 Week 5 Week 6 Week 7 Week 8 Week 9 Week 10
Module A: Language, Texts and Contexts (30 hours) Module B: Close Study of
This module will use a variety of largely short texts that represent the person and ‘story’ of Ned Kelly to help students with their Text (30 hours)
Term 1

comprehension, language analysis and to develop students’ personal, critical and creative responses.
Outcomes: EAL11-1A, EAL11-1B, EAL11-2, EAL11-3, EAL11-4, EAL11-5, EAL11-6, EAL11-7, EAL11-8, Outcomes: see below
EAL11-9
Texts: a range of types of texts drawn from prose fiction, poetry, nonfiction, film, media and digital texts. Focus Text: The Sapphires

Week 1 Week 2 Week 3 Week 4 Week 5 Week 6 Week 7 Week 8 Week 9 Week 10
Module B: Close Study of Text (30 hours) Module C: Texts and Society (30 hours)
In this module, students develop understanding, knowledge and appreciation of a substantial Students investigate how texts that are commonly encountered
literary text – The Sapphires. in community communicate information, ideas, bodies of
Term 2

knowledge, attitudes and belief systems.

Outcomes: EAL11-1A, EAL11-1B, EAL11-2, EAL11-3, EAL11-4, EAL11-5, EAL11-7, EAL11-8, Outcomes: EAL11-1A, EAL11-1B, EAL11-2, EAL11-3, EAL11-4,
EAL11-9 EAL11-6, EAL11-7, EAL11-9
Focus Text: The Sapphires directed by Wayne Blair Texts: a range of types of texts drawn from prose fiction, poetry,
nonfiction, film, media and digital texts

Week 1 Week 2 Week 3 Week 4 Week 5 Week 6 Week 7 Week 8 Week 9 Week 10
Module C: Texts and Society Module D: ‘Now hear this!’ Optional Teacher-Developed unit (30 hours)
(continued) In this module students will explore a variety of written and spoken texts that have been used to inspire change.
Term 3

Students plan, draft and refine their own written and spoken texts, applying the conventions of syntax, spelling and grammar
appropriately for their audience, context and purpose.
Outcomes: to be decided by the teacher in relation to the unit developed.
Texts: a range of types of texts Texts: a range of written and spoken texts including texts
Reference: NSW Education Standards Authority. (2017). English EAL/D Stage 6 syllabus. Sample scope and sequence. Retrieved from:
https://educationstandards.nsw.edu.au/wps/portal/nesa/11-12/stage-6-learning-areas/stage-6-english/english-eald-2017

10
Concept Map

11
Reconstructed Unit of Work- Year 11, Stage 6 EAL/D: Module B; Close study of text.

Colour Key:
Inquiry-based learning
Critical literacy application
Academic writing
Vocabulary awareness
Multimodal learning
Ethical understanding
(UbD)- Backward mapping

Subject UNIT NUMBER: 2
Stage: English
EAL/D UNIT/CONTEXT TITLE: Module B: Close Study of Text- The Sapphires Duration:
Weeks 1-10 Term 2, 2019
Year: 11

Focus Outcomes/ Learning for the Unit: Key concepts to be developed:

Outcomes
EAL11-1A responds to and composes increasingly complex texts for
understanding, interpretation, critical analysis, imaginative expression
and pleasure
Uses and evaluates processes, skills and knowledge necessary for
responding to and composing a wide range of texts in different media
and technologies.
EAL11-1B communicates information, ideas and opinions in familiar
personal, social and academic contexts
EAL11-2 uses and evaluates processes, skills and knowledge necessary
for responding to and composing a wide range of texts in different
media and technologies
EAL11-3 identifies, selects and uses language forms, features and
structures of texts appropriate to a range of purposes, audiences and
contexts, and analyses their effects on meaning
In this module, students develop understanding, knowledge and appreciation of
an Australian text. They identify, analyse and respond to the ways in which
language shapes meaning in the selected text The Sapphire by Wayne Blair. They
examine the language forms and conventions that are particular to the film and
the ways that the director uses, manipulates and/or challenges those
conventions. Through their focused interpretation and analysis of the film,
students compose personal, critical and creative critical, creative and reflective
responses. In doing so, students will have the opportunity to focus on the
conventions of the film’s form, structure and style and consider how these
conventions demonstrate the power of the composer in influencing responders.
The unit of work will also explore the ways in which the director represents
values, experiences and histories of Aboriginal Peoples and those involved in the
Vietnam War in the late 1960s. Students will closely examine the composer’s
representation of significant historical events, with a focus on the impact of the

12
 EAL11-4 applies knowledge, skills and understanding of literary Vietnam War. By the end of the unit, students will have a deeper appreciation of
devices, language concepts and mechanics into new and different how context shapes one’s values and perceptions.
contexts
EAL11-5 thinks imaginatively, creatively, interpretatively and critically This unit contains a range of resources and teaching and learning activities. It is
to respond to and represent complex ideas, information and not an expectation that all texts or activities are completed in order to achieve
arguments in a wide range of texts the learning intentions of this module. Teachers may select what is appropriate
EAL11-7 understands and assesses the diverse ways texts can and relevant for their students.
represent personal and public worlds
EAL11-8 identifies, explains and reflects on cultural references and
perspectives in texts and examines their effects on meaning
Key questions to direct interest and focus: Focus skills and applications for learning in the unit:
§ What is the purpose of closely studying a text? § Historical, cultural, social and literary context of the text
§ What impact does context have on understanding the film? § Key concepts, values, perspectives, attitudes and assumptions in each
§ How is the narrative represented in this film? text
§ How does the representation of characters contribute to the § Content of each text
text’s narrative?
§ How does the director use language forms and features to
represent key concepts?
§ How does our understanding of significant words increase
our understanding of context?
§ What is the importance of understanding context? How does
it shape our understanding and inform our opinions?
§ How can we define the history of Indigenous peoples?
§ How do these events impact on the way that we
engage with and understand the film?
§ How do key scenes in the film enhance our understanding of
context and position the audience?
§ How does the use of particular cinematic techniques effect
the power of the composer compared to the power of the
responder?
§ How does a literary Trope change our ethical understanding
of events and people?

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Targeted Learning Learning Experiences / sequence of activity- WHAT Inte Strategi Resources Evidence

Syllabus intentions/ Gra es for of
Outcomes Success tion student learning
criteria engage Assessme
ment- nt
HOW
EAL11-1A Learning Key Question: How does our understanding of significant words increase our Questioni
Intention understanding of context? This question is to be used as the question that Guided R1- Module B Rubic. ng and
EAL11-1B Students students work on as a reflective piece, due at the end of each week for teaching Template of Process verbal
will learn formative assessment. / Journal. check of

EAL11-3
about the discussi students
rubric and on of understan

EAL11-4 Deconstruction of the rubric
key words. The teacher guides students through a detailed reading and deconstruction of the ding of
EAL11-8 the rubric for this unit. Students highlight and annotate the rubric, clarifying key module the rubric.
Success rubric
terms, skills and expectations linked to the summative assessment. This may be
EAL11-9 Criteria done digitally or on a hard copy. and key
Students aspects
EAL/D Key will be able Explain the use of the Vocabulary log; Each week students and the teacher will set for

Learning to identify form a list of words that relate to the tasks being taught that week. Students are study.
Skills: and define to try and actively use these words throughout the week orally and through
Language academic writing. Students are encouraged to define terms, find synonyms and
key
proficiency where necessary, include the term in the student’s first language. Key terms for Vocabulary log template
concepts
and this unit/ week include:
to be Researc Teacher
fluency
explored. Week 1 Vocabulary words would include; h Feedback:
1. Understanding Student Teacher
2. Appreciation complet will check
3. Examine e student
4. Respond research answers.
5. Colonisation
6. Stolen Generation

14


7. Indigenous
8. Country
9. Vietnamese

Students use a mind map to brainstorm their understanding of Aboriginal

histories in Australia. The teacher asks students to share their responses and
writes them on the board, clarifying ideas and using them as points of
discussion.

Students begin a vocabulary log (electronic or hard copy) that will be developed
throughout the unit. The vocabulary log should contain key terms pivotal to
understanding the unit. Colonisation
10. Stolen Generation
11. Indigenous
12. Aboriginal person
13. Country

(in pairs students are to research the above words and create a mind map
glossary of their findings. They are to use this information to write a one to two
sentence definition and share their answers with the class).

Field Building
The teacher introduces the essential questions of the topic and asks students to
note down their initial responses.
EAL11-1A Learning Key Question: What is the importance of understanding context? How does it
shape our understanding and inform our opinions? This question is to be used
intention
EAL11-1B Students as the question that students work on as a reflective piece, due at the end of
will learn each week for formative assessment.
EAL11-2 about the
context of
Vocabulary log words:
• Context
EAL11-3 the film
• Land ownership
• Rights
15

EAL11-4 Success • Apology
Criteria • War

EAL11-5 Students
will be able Understanding context

EAL11-7 to identify
Students consider responses to the following questions below as a means of
and
examining context. The teacher reads the questions aloud and then provides
EAL11-8
describe Think/P Teacher
students with an opportunity to write responses to the questions, or respond
the verbally. air/Shar Feedback:
context of ● What are important events that your family members or relatives have e Teacher
the film. experienced in their lives? will check
● Think about and describe something you have done or experienced that student
has influenced your life. answers.
● Why is storytelling important? What does an individual, group or
community gain from telling personal stories?

Active listening activity

Students participate in an active listening activity in pairs. Students address the
focus questions (which they should have thought about and written down) by
speaking to a peer. Each question has an allocated time frame (for instance, 1
minute per question). As one person shares, the other person actively listens by
following three fundamental rules:
● Look at the person talking.
● Wait until he or she is finished before speaking.
● Respond with words or gestures to show you have heard what the
speaker is saying.

Key Question: How can we define the history of Indigenous peoples?
This question is to be used as the question that students work on as a
reflective piece, due at the end of each week for formative assessment.

16
 Reading activity Active
In groups, students read and discuss three short texts that help them understand reading
the cultures and lifestyle of Aboriginal Peoples prior to 1788. Students take note activity
of what is revealed through each text. Suggested texts include:
• Horton’s Aboriginal Australia map,
• https://aiatsis.gov.au/explore/articles/aiatsis-map -indigenous-
australia
• Quote from the late Aunty Beryl Timbery Beller available from
• http://www.aboriginalheritage.org/history/history/
• Baiames Ngunnhu - the story of Brewarrina Fish Traps,
https://www.youtube.com/watch?annotation_id=annotation_
2990908051&feature=iv&src_vid=7uYKg1M6PRk&v=sq0fDD8nPuU

Students use the notes gathered from this activity to develop a response to the
question – Teacher
Feedback:
Based on the texts you have studied, describe and explain some of the key teacher
features of life for Aboriginal Peoples prior to 1788.
provides
Students also have the option to create a short video type interview of
feedback
themselves answering this question or a visual essay, with some words to on
demonstrate their understanding. students
notes or
Extension activity- short
Students explore poetry that reflects the contemporary world views of Aboriginal Compre video/
and/or Torres Strait Islander Peoples through reading the suggested poems hensive visual
below: engage essay.
• Ken Canning/Burraga Gutya – ‘Temporary Town’ and ‘Paths’ available in ment
Yimbama (2015) with
• Alice Eather (2016 ) ‘Yuya Karrabura: The Fire is Burning’, other
https://twitter.com/abcarts/status/763941270762905601?lang=en
texts
• Romaine Moreton (2000) ‘A Walk with Words’,
https://aso.gov.au/titles/shorts/a-walk-with-words/clip1/

17

Students discuss the significance of the ideas in the poems including:
• notions of identity and belonging
• relationship to culture
• the impact of colonisation.

Students select one of the poets and write a letter to him/her in which they share
their thoughts about the issues explored in the poem and the wider concerns that
it reflects in relation to the experiences of Aboriginal and/or Torres Strait Islander
Peoples.

Differentiation: Students select one poem and one issue for reflection within
their letter. The teacher provides sentence starters and definitions of the issues
above as further scaffolding of the task.

The above extension task has been used from a sample unit of work found at the
following reference.
Reference: Reference: NSW Education Standards Authority. (2017). English

EAL/D Stage 6 syllabus. Sample scope and sequence. Retrieved from:
https://educationstandards.nsw.edu.au/wps/portal/nesa/11-12/stage-6-

learning-areas/stage-6-english/english-eald-2017
Key Question: How do these events impact on the way that we engage Resources to explore
with and understand the film? This question is to be used as the question Student the film’s context:
that students work on as a reflective piece, due at the end of each week for research • Selected clips
formative assessment. from Rabbit Proof
into the
context Fence
Context of the film • ‘Remembering the
of the
Students are divided into groups according to particular aspects of the 1960s mission days’,
context which the film is based on including: film.
https://aiatsis.gov.
• The Stolen Generations au/exhibitions/re
• Missions and reserves membering-

18
 • Aboriginal Activism – Freedom Rides and protests mission-days
• 1967 Referendum • Chapter 2 -
• Australia’s involvement in the Vietnam War ‘Bringing them
home: The Stolen
In groups, students read the materials, summarise the main ideas and create 2 Children report’,
slides as part of a larger Google Slides presentation. This is presented to the class http://www.huma
as an oral report. As each group shares, students take notes using headings to nrights.gov.au/our
-work/aboriginal-
organise their points. Teacher to add additional notes if needed.
and-torres-strait-
As a class connect the context of the film to modern day scenario’s that make the islander-social-
learning of this unit relevant to students’ life’s. Connecting the context of the film Student justice/publication Students
to a modern context in which students can relate allows students to develop their s engage s/bringing-them- participat
ethical understanding. with a home-stolen e in a
text • ‘Commemorating sensitive
Students watch the YouTube clip of Kevin Rudd’s 2007 Sorry Speech and discuss relevant the Freedom conversati
in pairs using a scaffolded worksheet, the impact of this speech and its to the Ride’, on to

connection to the film. Students discuss the questions; modern https://aiatsis.gov. demonstr
au/exhibitions/19
era but ate their
https://www.youtube.com/watch?v=RThkO3XBThs 65-freedom-ride
still growth in
• Charles Perkins
focusing interview,
ethical
• Do you think Kevin Rudd did the right thing in apologising to Indigenous
on the http://www.austr understan
Australian’s?
• How does it make the situation of these displaced people better or
same alianbiography.go ding.
worse? issues v.au/subjects/perk
within ins/interview1.ht
Students write a reflective piece in their process journals to contemplate these the film. ml
ideas further. • The 1967
Referendum fact
Students come together as a class to have a discussion on these questions and
the speech to voice opinions. sheet,
http://www.naa.g
ov.au/collection/f
act-
sheets/fs150.aspx

19

• Faith Bandler
discussing the
1967 Referendum,
http://dl.nfsa.gov.
au/module/1025/

• ‘Australia’s
involvement in the
Vietnam War’,
http://www.naa.g
ov.au/collection/f
act-
sheets/fs117.aspx
• Australian War
Memorial
Website,
https://www.awm
.gov.au/atwar/viet
nam/
‘Conflict – Australians at
war’,
http://generator.acmi.n
et.au/sites/default/files
/Generator_Conflict_9.p
df

20
EAL11-1A Learning Key Question: How do key scenes in the film enhance our understanding of
Intention context and position the audience? This question is to be used as the question Student
EAL11-1B Students that students work on as a reflective piece, due at the end of each week for s engage
will learn formative assessment. with
EAL11-2 about The inquiry
Vocabulary Log words:
Sapphires question
• Director
EAL11-3 through
• Aspects
Success • Circumstances
out the
EAL11-4 Criteria • Complications unit by
Students • Resolution writing
EAL11-5 will be able reflectiv
to Deconstruction of the film The Sapphires e pieces.
EAL11-7 summarise
key Context of the director
EAL11-8 aspects of Students work in pairs to research the context, experiences and thinking of the
the film. film’s director, Wayne Blair. In doing so, they have the opportunity to develop a
EA11-9 deeper understanding of his work in the filmmaking industry particularly in
relation to The Sapphires. Students represent their findings by writing the script
of an imagined interview with the director. They may use this script to role play
the interview in front of the class.

First viewing of the film

Students view the film for the first-time taking note of key aspects of the Student Scaffold worksheet to
narrative and storyline of the text using a scaffolded worksheet to assist them. s view assist with student’s
The teacher scaffolds this process by providing the following prompts: the film deconstruction of the
• Introduction of the film – time, place, circumstances, main characters support film.
• Series of events/complications – incidents where main characters go ed by
about achieving goals as well as challenges and obstacles they face along their
the way (whether they be physical, mental, emotional, social and/or scaffold
political)
• Resolution – how the goals are achieved or not achieved in the
conclusion, and the high point of achievement in the action/conclusion.

21
The teacher provides opportunities for students to consolidate their notes Students
through class discussion after viewing the film. participat
e in a
Adjustment class
Students make a timeline of the narrative as it unfolds in the film. Interactive timeline,
Student discussion
s create http://www.readwritet with the
a hink.org/classroom- teacher.
Setting resources/student-
The teacher guides students to identify key aspects of setting. Students find timeline
interactives/timeline-
images or dialogue that signal the time and place that the story occurs. using
30007.html
ICT.
Students answer the following questions in order to consolidate their learning
about the impact of setting
• How is the setting of The Sapphires significant to the film?
• What does the setting suggest about the characters and their journey?
• What does the setting suggest about the narrative/storyline?

Individual student reflection

Students use their understanding of the film to compose written responses to
some of the essential questions for the unit in their process journal for this week:
● What is the purpose of studying a text closely?
● What impact does context have on the understanding of text?
● How is a narrative represented in text?
The teacher assesses these responses in order to gauge students’ understanding
at this point in the unit.

Creative Writing-
After studying the setting of the text students are asked to write a creative piece Teacher
from one of the settings in the film. Students are to position themselves as if they Feedback:
are in the setting and describe something that is happening during this time. This Teacher
can be assigned for homework and used as formative assessment, looking at
provides
student’s ability to write creatively.
feedback

22
 on
Key Question: How does the use of particular cinematic techniques effect the students
power of the composer compared to the power of the responder? This creative
question is to be used as the question that students work on as a reflective writing
piece, due at the end of each week for formative assessment.
pieces.

Film Techniques
Student ‘The Columbia Film
The Teacher explicitly teachers the following film techniques; s test Language Glossary’,
• Camera shots: extreme close up, close up, mid shot, long shot, extreme their https://filmglossary.ccn
long shot, knowled mtl.columbia.edu/
• Camera angles: high, low, aerial, crane, bird’s eye and POV ge of
• Dialogue film
• Sound techniq
• Positioning ues.
• Lighting
• Costume
• Props.

Flight

Students view the Tropfest film Flight and deconstruct as a class. Teacher to draw
attention to the lack of dialogue, use of symbols, shots and angles etc. Teacher is Student
also to draw attention to the power of music, angles and lack of dialogue and s watch
discuss this power as a class. a short
film, in
Second viewing of the film compari
son to
Students view the film for the second time. The teacher stops at key scenes in The
order to guide students through a detailed analysis of the content and Sapphir
composition of the scene. es.

23
Key Question: How does the composer represent the main characters in the
film? This question is to be used as the question that students work on as a
reflective piece, due at the end of each week for formative assessment.

Vocabulary log words:

• Characterisation
• Dialogue
• Prejudice
• Interracial
• Resilience

Characterisation
Students brainstorm their thoughts on the concept of characterisation
considering how an audience learns about characters through their actions, Student
thoughts and feelings, memories and dialogue. s engage
with
Students have a discussion in which they identify and list major and minor main
characters, noting down their physical and personality traits. They discuss how text
directors reveal personality traits through character thought, behaviour or through
language. Students identify the main character’s goals and how these goals guide
underst
the story. Students use a table or other graphic organiser to organise the points
gathered during the discussion. anding
the
In small groups students use a graphic organiser to organise the points gathered characte Students
during the discussion. rs. work in
small
The teacher provides students with a model response that explores a particular groups to
character. Students read and annotate the text in order to understand its clarify
language and structure. their
understan
Students use this model as a scaffold for their own written response on another ding.
character. Students self-edit as well as gain feedback from their peers and
teachers to improve the quality of their response. Students use this to form part

24
of an essay in response to the question – How does Blair represent key characters
in The Sapphires?

Themes and concepts

Students work alone and then in pairs to compile a list of key ideas in The
Student
Sapphires. As a class, students discuss these ideas and create a class list. The list
s engage
may include:
● prejudice with the
● gender roles main
● overcoming obstacles text
● familial relationship through
● resilience focusing
● interracial relationships on
● the power of music. themes
&
Students write unfamiliar words and definitions in their vocabulary log. concept.
Key Question: How does scene analysis inform our understanding of the power
of language and cinematic techniques in positioning the responder? This
question is to be used as the question that students work on as a reflective
piece, due at the end of each week for formative assessment.

Vocabulary log words:

• Analysis
• Scene
• Motif
• Construct

The teacher selects a key scene from the film in order to model how to
deconstruct a scene effectively. Using the scaffold questions below, the teacher Student
and students take notes to answer the questions. After viewing, the class shares
s engage
their notes in order to form clear responses to the questions.
with the

25
Scaffold questions: main
• What ideas are explored in this scene? text by
• What is happening in this scene that makes me think about these ideas? analysin
• What film features are used to help communicate these ideas? g key
scenes.
Students are given a key scene and work in pairs to take notes in order to answer
the questions. Each groups’ work is shared via Google Docs or other platform so
that the teacher can monitor progress and provide feedback. Students are given a
scaffold to help them deconstruct the scene.
Scaffold how and
Using the notes developed during the joint construction phase, the teacher what to look for when
shares a model paragraph with the students. Students annotate the paragraph deconstructing a
paying attention to: scene.
• organisation of content
• references to film features
• cohesive links.

Students use this model to construct their own paragraph based on the notes
taken on their particular scene during the group work activity. Students share
their paragraph with a student who wrote on a different scene and provide
feedback on the writing.

Motif
Students discuss the quote below:
‘In soul music they’re struggling to get it back, and they haven't given up. So every
note that passes through your lips should have the tone of a woman who’s
grasping and fighting and desperate to retrieve what’s been taken from her.’

Students use the ideas generated during the discussion to write a reflection using
the questions below as a guide:
• What was your understanding of soul music prior to studying this film?
• What impact do you think the genre of soul music had on your

26
 understanding of the characters and the issues experienced throughout
the film? Justify your response.

Key Question: How does a literary Trope change our ethical understanding of
events and people? This question is to be used as the question that students
work on as a reflective piece, due at the end of each week for formative
assessment.

Literary trope
The literary trope of moral conflict is a means of further delving into the
relationship between context, characterisation and concepts. Students are
allocated a moral conflict from the film. They select relevant scenes which
demonstrate the moral conflict and analyse how it is communicated through the
language forms and features. Students compose a discursive response detailing
their findings about the moral conflict. Examples of moral conflict in the film:
● The film is set in 1968, the year after Australia’s Aboriginal and Torres
Strait Islander Peoples won the right to vote. Despite this legislative and
political breakthrough, issues concerning prejudice and racism are
portrayed within the film by Blair. This idea is clearly witnessed in the
opening sequence, where despite their obvious talent, when the girls
perform at the talent quest in the pub, they are either ignored or viewed
with contempt by the patrons.
● Further examples of prejudice, despite the law, is that of the Stolen
Generation, as the girls' cousin Kay was taken away by authorities at a
young age because she could ‘pass as white’ (sic).
● Later in the film, Kay and Robby (an African American) attempt to treat a
gravely wounded soldier who despite his urgent need for assistance, is
reactive towards Robby’s race and does not want to be touched by him.
On the flip side, Gail is often unapologetically cruel to Kay regarding the latter's
skin tone, taunting her about supposedly thinking she's superior to the other girls
because of her light complexion. Gail heightens this taunt by suggesting in one
scene that the only reason she's interested in Robby is to make herself ‘blacker’

27
 (sic). For Gail, someone who has often faced taunts and racial mistreatment, it's
hypocritical.
EAL11-1A Learning
intention Writing task/ Assessment preparation
EAL11-1B Students
will learn Students compose an extended response in relation to the question:
about The
How does the composer represent the unique experiences of individuals in the
Sapphires
late 1960s? In your response make detailed reference to at least two excerpts
from Wayne Blair’s The Sapphires.
Teacher
Success As a class, students deconstruct the essay question. The teacher demonstrates Feedback:
Criteria possible ways of organising the response. During the drafting process, students Teacher
Students engage in self-editing and peer-editing in order to clarify the quality of their uses
will be able response. Teacher provides a scaffold of how to write an extended response, Scaffold of how to writing
to looking at PETAL paragraphs and constructing a mock paragraph together as a write an extended task as
summarise class. This assists in preparing students for their summative assessment. response formative
key assessme
Prior to submission, students assess their own response using the marking
aspects of Scaffold of how to nt to
guidelines provided by the teacher. Students submit this along with their essay
the film for teacher feedback. write a petal provide
paragraph. feedback
Assessment task preparation and
prepare
In preparation for the assessment task, the teacher develops a sample task based students
on a scene that will not be explored as part of the summative assessment task.
for
The teacher develops questions that scaffold students’ ability to respond to
summativ
audio-visual material in a given time period. Students’ responses are marked and
students are given feedback. e
assessme
nt.
The teacher leads a discussion that focuses on key techniques and strategies for
responding to audio-visual material in timed conditions

28
Teacher will explicitly teach essay writing to the class. Students will
complete essay-style questions based on prescribed texts.

Evaluation
The teacher uses Google Forms, Survey Monkey or another data collection tool to Student Google Forms
collect information from the students regarding their views and progress in the s engage Survey Monkey
unit. Statements could include: with
1. The learning outcomes and expected standards of this unit of work were
what
clear to me.
they
2. The teaching in this unit of work helped me to learn effectively.
3. The teaching and learning in this unit supported my oral and written have
language development. learnt
4. The teaching and learning in this unit provided opportunities for me to through
develop and express intercultural understanding and empathy. out the
5. The teacher was aware of and catered for students’ diverse learning unit.
needs and styles.
6. The unit provided opportunities to access and use ICT skills and
resources.
7. The assessment in this unit allowed me to demonstrate what I
understood.

The teacher selects and shares relevant data with the class and discusses how this
could inform future teaching and learning.

29
 Overall Evaluation of unit and Assessment

Teacher Signature: Head Teacher: Date:

30
 English Faculty – Registration

Unit Name:
Evaluation: Areas of concern in teaching this topic:
For each of the following areas please tick the appropriate box
☺ • ☹
1. Student engagement
2. Student understanding of
content
3. Preparation and planning
4. Time allocated for topic
5. Activities and teaching Comment on the assessment for this topic:
methods
6. Literacy strategies used
7. Numeracy strategies used
8. ICT strategies used
9. Suitability of resources
10. Sequencing of the unit
11.Student reaction

Comments:
What were the most effective aspects of this unit? What strategies would you use again?

Teacher signature: Head Teacher signature:

Date: Date:

31
 Assessment Task & Marking Criteria

Sample Formal Assessment Task Notification

EAL/D English – Year 11 – Module B

Context: In Module B Close Study of Text, students have closely examined the context, form, language

and ideas in Wayne Blair’s The Sapphires. They have developed their knowledge and skills to explore and
analyse the ways in which texts are composed for particular audiences, purposes and contexts. They have

studied the ways in which the director has shaped the audience’s understanding of and engagement with
the setting, storyline, characters and themes. Students have developed their writing skills through the

composition of a range of personal, creative and analytical critical, creative and reflective texts through a
close analysis of the composition of and ideas in key scenes from the film.

Task number: 2 Weighting: 15% 30% Timing: Term 2

Outcomes assessed:
EAL11-3 identifies, selects and uses language forms, features and structures of texts appropriate to a

range of purposes, audiences and contexts, and analyses their effects on meaning
EAL11-4 applies knowledge, skills and understanding of literary devices, language concepts and

mechanics into new and different contexts
EAL11-7 understands and assesses the diverse ways texts can represent personal and public worlds

EAL11-8 identifies, explains and reflects on cultural references and perspectives in texts and examines
their effects on meaning

Nature of the task:
Part A (15%): Multimodal presentation
are to select one of the following works to create, including;
You

1. Two-minute, multimodal presentation

2. Interactive poster
3. Two-minute speech
In your created work you must address the question, in a personal way;

“My learnt understanding of the Vietnam War/ Stolen generation has changed my thinking of and/or
through…”

In completing your creation of work, you must reference at least 2 key scenes in the film, along with

language forms, features and cinematic techniques that inspire your development of knowledge.

Remember; Part A focuses on your opinion and understanding; therefore, you should use personal
pronouns.

Part B (15%): Extended response-
You are to view an multiple excerpt from the prescribed text, Wayne Blair’s The Sapphires, and answer

four unseen questions in the allocated time. and write an extended response answering the question;

32
 “Analyse how the composer of The Sapphires, Wayne Blair demonstrates power through using
language form, features and cinematic techniques in positioning the audience”. Use elements of one of
the three excerpts below to support your response.

The excerpt
used for this task will be selected from one of the following scenes:
a) Singing ‘Yellow Bird’
b) Performing
‘Today I started lovin’ you again’
c) The difference between country and soul music scene – Singing ‘I’ll take you there’

Marking criteria
be assessed on how well you:
You will
Part A:
• Create an engaging and informed creation of work
• Answers the question using emotive and personal understanding of knowledge, with evidence from
the film
Part B:
● engage with the questions extended response question demonstrating knowledge and

understanding of the messages communicated through the excerpt
● display understanding of values, attitudes and ideas as represented through the excerpt and film
as a whole
● use relevant textual evidence to support ideas
● use language appropriately to communicate ideas.

Feedback provided:

Feedback will be provided through written annotations on the submitted task, as well as, comments on the
marking guidelines specifying strengths and areas for improvement.

Prior to students receiving their graded task, feedback will be provided to the class through a presentation.

The presentation will identify and explain areas of strength and areas requiring improvement which were
identified through the marking process. The teacher will also provide strategies for improvement based on

the identified areas.

Students observe and deconstruct a modelled response of the questions with teacher guidance. Ideally
this would be a script from the class with the student’s prior permission. Students are provided with the

marking guidelines and are asked to grade the response individually. The teacher explains the grade
allocated and provides justification for the result.

33
 Marking guidelines

Creation of work

Criteria Marks
• Demonstrates a well-developed understanding of the values, attitudes and ideas 9–10
represented in the film from a personal point of view
• Develops an engaging and sophisticated creation of work

• Provides detailed textual analysis to support ideas in a sustained and cohesive
response
• Uses appropriate language to effectively communicate ideas
• Demonstrates understanding of the values, attitudes and ideas represented in the 7–8
film
• Develops an engaging creation of work
• Provides textual analysis to support ideas in a sustained response
• Uses appropriate language to communicate ideas
• Demonstrates some understanding of the values, attitudes and ideas represented 5–6
in the film
• Develops a creation of work
• Provides some textual analysis to support ideas in a sustained response
• Uses language to communicate ideas
• Demonstrates a basic understanding of the values, attitudes and ideas 3–4
represented in the film

• Develops a limited creation of work
• Provides a limited response with minimal textual evidence to support ideas

• Attempts to use language to communicate ideas
• Attempts to compose a response demonstrating limited understanding of the 1–2
values, attitudes and ideas represented in the film
• Develops an incomplete creation of work
• Uses language with limited control to communicate ideas

Short answers

Question 1
Criteria Marks
• Composes a detailed overview of the scene 2
• Composes a simple overview of the scene 1

Question 2
Criteria Marks
• Explains how connection to culture is represented through the scene 3
• Describes how connection to culture is represented through the scene 2
• Identifies an aspect of culture depicted in the scene 1

Question 3
Criteria Marks

• Effectively explains the key ideas communicated through the scene 4–5
• Uses detailed textual evidence to support ideas

• Describes the key ideas communicated through the scene 2–3
• Uses some textual evidence to support ideas
• Makes a relevant statement about the scene 1

34
Extended response
Question 4
Criteria Marks
• Demonstrates a well-developed understanding of the values, attitudes and ideas 9–10
represented in the film
• Provides detailed textual analysis to support ideas in a sustained and cohesive
response

• Uses appropriate language to effectively communicate ideas
• Demonstrates understanding of the values, attitudes and ideas represented in the 7–8
film
• Provides textual analysis to support ideas in a sustained response
• Uses appropriate language to communicate ideas
• Demonstrates some understanding of the values, attitudes and ideas represented 5–6
in the film
• Provides some textual analysis to support ideas in a sustained response
• Uses language to communicate ideas
• Demonstrates a basic understanding of the values, attitudes and ideas 3–4
represented in the film
• Provides a limited response with minimal textual evidence to support ideas
• Attempts to use language to communicate ideas
• Attempts to compose a response demonstrating limited understanding of the 1–2
values, attitudes and ideas represented in the film

• Uses language with limited control to communicate ideas

Reference: NSW Education Standards Authority. (2017). English EAL/D Stage 6 syllabus. Sample
formal assessment task. Retrieved from:
https://educationstandards.nsw.edu.au/wps/portal/nesa/11-12/stage-6-learning-areas/stage-6-

english/english-eald-2017

35
References

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learning: The stanford mobile inquiry-based learning environment

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doi:http://dx.doi.org/10.1007/s11125-013-9269-7

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Walsh, M., Durrant, C., & Simpson, A. (2015). Moving in a multimodal landscape: Examining

21st century pedagogy for multicultural and multilingual students. English in

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Wiggins, G., & McTighe, J. (2011). The Understanding by design guide to creating high-

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38
Appendices

Original Scope and Sequence

Sample Scope and Sequence: English EAL/D – Year 11 (A)
Sample for implementation for Year 11 from 2018

Week 1 Week 2 Week 3 Week 4 Week 5 Week 6 Week 7 Week 8 Week 9 Week 10
Module A: Language, Texts and Contexts (30 hours) Module B: Close Study of
This module will use a variety of largely short texts that represent the person and ‘story’ of Ned Kelly to help students with their Text (30 hours)
Term 1

comprehension, language analysis and to develop students’ personal, critical and creative responses.
Outcomes: EAL11-1A, EAL11-1B, EAL11-2, EAL11-3, EAL11-4, EAL11-5, EAL11-6, EAL11-7, EAL11-8, Outcomes: see below
EAL11-9
Texts: a range of types of texts drawn from prose fiction, poetry, nonfiction, film, media and digital texts. Focus Text: The Sapphires

Week 1 Week 2 Week 3 Week 4 Week 5 Week 6 Week 7 Week 8 Week 9 Week 10
Module B: Close Study of Text (30 hours) Module C: Texts and Society (30 hours)
In this module, students develop understanding, knowledge and appreciation of a substantial Students investigate how texts that are commonly encountered
literary text – The Sapphires. in community communicate information, ideas, bodies of
Term 2

knowledge, attitudes and belief systems.

Outcomes: EAL11-1A, EAL11-1B, EAL11-2, EAL11-3, EAL11-4, EAL11-5, EAL11-7, EAL11-8, Outcomes: EAL11-1A, EAL11-1B, EAL11-2, EAL11-3, EAL11-4,
EAL11-9 EAL11-6, EAL11-7, EAL11-9
Focus Text: The Sapphires directed by Wayne Blair Texts: a range of types of texts drawn from prose fiction, poetry,
nonfiction, film, media and digital texts

Week 1 Week 2 Week 3 Week 4 Week 5 Week 6 Week 7 Week 8 Week 9 Week 10
Module C: Texts and Society Module D: ‘Now hear this!’ Optional Teacher-Developed unit (30 hours)
(continued) In this module students will explore a variety of written and spoken texts that have been used to inspire change.
Term 3

Students plan, draft and refine their own written and spoken texts, applying the conventions of syntax, spelling and grammar
appropriately for their audience, context and purpose.
Outcomes: to be decided by the teacher in relation to the unit developed.
Texts: a range of types of texts Texts: a range of written and spoken texts including texts
Reference: NSW Education Standards Authority. (2017). English EAL/D Stage 6 syllabus. Sample scope and sequence. Retrieved from:
https://educationstandards.nsw.edu.au/wps/portal/nesa/11-12/stage-6-learning-areas/stage-6-english/english-eald-2017

39
Original Unit of Work
Subject
Stage: English
EAL/D UNIT/CONTEXT TITLE: Module B: Close Study of Text- The Sapphires
Year: 11
Focus Outcomes/ Learning for the Unit:
Outcomes
EAL11-1A responds to and composes increasingly complex texts for
understanding, interpretation, critical analysis, imaginative expression
and pleasure
Uses and evaluates processes, skills and knowledge necessary for
responding to and composing a wide range of texts in different media
and technologies.
EAL11-1B communicates information, ideas and opinions in familiar
personal, social and academic contexts
EAL11-2 uses and evaluates processes, skills and knowledge necessary
for responding to and composing a wide range of texts in different
media and technologies
EAL11-3 identifies, selects and uses language forms, features and
structures of texts appropriate to a range of purposes, audiences and
contexts, and analyses their effects on meaning
EAL11-4 applies knowledge, skills and understanding of literary
devices, language concepts and mechanics into new and different
contexts
EAL11-5 thinks imaginatively, creatively, interpretatively and critically
to respond to and represent complex ideas, information and
arguments in a wide range of texts
EAL11-7 understands and assesses the diverse ways texts can
represent personal and public worlds
EAL11-8 identifies, explains and reflects on cultural references and
perspectives in texts and examines their effects on meaning
UNIT NUMBER: 2
Duration:
Weeks 1-10 Term 2, 2019
Key concepts to be developed:
In this module, students develop understanding, knowledge and appreciation of
an Australian text. They identify, analyse and respond to the ways in which
language shapes meaning in the selected text The Sapphire by Wayne Blair. They
examine the language forms and conventions that are particular to the film and
the ways that the director uses, manipulates and/or challenges those
conventions. Through their focused interpretation and analysis of the film,
students compose personal, critical and creative responses. In doing so,
students will have the opportunity to focus on the conventions of the film’s
form, structure and style and consider how these conventions influence
responders.
The unit of work will also explore the ways in which the director represents
values, experiences and histories of Aboriginal Peoples in the late 1960s.
Students will closely examine the composer’s representation of significant
historical events, with a focus on the impact of the Vietnam War. By the end of
the unit, students will have a deeper appreciation of how context shapes one’s
values and perceptions.
This unit contains a range of resources and teaching and learning activities. It is
not an expectation that all texts or activities are completed in order to achieve
the learning intentions of this module. Teachers may select what is appropriate
and relevant for their students.
40
Key questions to direct interest and focus:
§ What is the purpose of closely studying a text?
§ What impact does context have on understanding the film?
§ How is the narrative represented in this film?
§ How does the representation of characters contribute to the
text’s narrative?
§ How does the director use language forms and features to
represent key concepts?
Focus skills and applications for learning in the unit:
§ Historical, cultural, social and literary context of the text
§ Key concepts, values, perspectives, attitudes and assumptions in each
text
§ Content of each text
41
Targeted Learning Learning Experiences / sequence of activity- WHAT Inte Strategies for Resources Evidence
Syllabus intentions/ Gra student of
Outcomes Success tion engagement- learning
criteria HOW Assessme
nt
EAL11-1A Learning Deconstruction of the rubric Questioni
Intention The teacher guides students through a detailed reading and deconstruction of Guided R1- Module B ng and
EAL11-1B Students the rubric for this unit. Students highlight and annotate the rubric, clarifying key teaching/ Rubic verbal
will learn terms, skills and expectations. This may be done digitally or on a hard copy. discussion of check of
EAL11-3
about the the module students
Students use a mind map to brainstorm their understanding of Aboriginal
rubric and rubric and key understan
EAL11-4 histories in Australia. The teacher asks students to share their responses and
key words. writes them on the board, clarifying ideas and using them as points of aspects set for ding of
EAL11-8 discussion. study. the rubric.
Success
EAL11-9 Criteria Students begin a vocabulary log (electronic or hard copy) that will be developed
Students throughout the unit. The vocabulary log should contain key terms pivotal to
EAL/D Key will be able understanding the unit. Students are encouraged to define terms, find synonyms
Learning to identify and where necessary, include the term in the student’s first language. Key terms
Skills: and define for this unit include:
Language key • Colonisation Research
proficiency • Stolen Generation
concepts Student
and • Indigenous
to be complete Teacher
fluency • Aboriginal person
explored. research Feedback:
• Country
Teacher
will check
(in pairs students are to research the above words and create a mind map
student
of their findings. They are to use this information to write a one to two
answers.
sentence definition and share their answers with the class)

42
 Field Building
The teacher introduces the essential questions of the topic and asks
students to note down their initial responses.

EAL11-1A Learning Understanding context

intention
EAL11-1B Students Students consider responses to the following questions below as a means of
will learn examining context. The teacher reads the questions aloud and then provides Think/Pair/Share
students with an opportunity to write responses to the questions.
EAL11-2 about the
● What are important events that your family members or relatives have
context of
experienced in their lives?
EAL11-3 the film ● Think about and describe something you have done or experienced that
has influenced your life. Teacher
EAL11-4 Success ● Why is storytelling important? What does an individual, group or Feedback:
Criteria community gain from telling personal stories? Teacher
EAL11-5 Students will check
will be able Active listening activity student
EAL11-7 to identify Students participate in an active listening activity in pairs. Students address the answers.
and focus questions (which they should have thought about and written down) by
EAL11-8 describe speaking to a peer. Each question has an allocated time frame (for instance, 1
minute per question). As one person shares, the other person actively listens by
the
following three fundamental rules:
context of
● Look at the person talking.
the film. ● Wait until he or she is finished before speaking.
● Respond with words or gestures to show you have heard what the
speaker is saying.

43
 Resources to
explore the
Reading activity film’s context:
In groups, students read and discuss three short texts that help them understand • Selected
the cultures and lifestyle of clips from
Aboriginal Peoples prior to 1788. Students take note of what is revealed through Rabbit
each text. Suggested texts include: Proof
• Horton’s Aboriginal Australia map, Fence
• https://aiatsis.gov.au/explore/articles/aiatsis-map -indigenous- • ‘Rememb
australia ering the
• Quote from the late Aunty Beryl Timbery Beller available from mission
• http://www.aboriginalheritage.org/history/history/ days’,
• Baiames Ngunnhu - the story of Brewarrina Fish Traps, https://ai
https://www.youtube.com/watch?annotation_id=annotation_ atsis.gov.
2990908051&feature=iv&src_vid=7uYKg1M6PRk&v=sq0fDD8nPuU au/exhibi
tions/re
Students use the notes gathered from this activity to develop a response to the memberi
question – Based on the texts you have studied, describe and explain some of the ng-
key features of life for Aboriginal Peoples prior to 1788. mission-
days
• Chapter 2
Context of the film ‘Bringing
Students are divided into groups according to particular aspects of the 1960s them
context which the film is based on including: home:
• The Stolen Generations The
• Missions and reserves Stolen
Children
• Aboriginal Activism – Freedom Rides and protests
report’,
• 1967 Referendum
http://w
• Australia’s involvement in the Vietnam War
ww.huma
nrights.g
ov.au/our
-

44
In groups, students read the materials, summarise the main ideas and work/abo
create 2 slides as part of a larger Google Slides presentation. This is riginal-
presented to the class as an oral report. As each group shares, students and-
take notes using headings to organise their points. Teacher to add torres-
strait-
additional notes if needed.
islander-
social-
justice/p
ublicatio
ns/bringi
ng-them-
home-
stolen
• ‘Comme
morating
the
Freedom
Ride’,
https://ai
atsis.gov.
au/exhibi
tions/196
5-
freedom-
ride
• Charles
Perkins
interview
,
http://w
ww.austr
alianbiog
raphy.go

45
 v.au/subj
ects/perk
ins/interv
iew1.htm
l
• The 1967
Referend
um fact
sheet,
http://w
ww.naa.g
ov.au/col
lection/fa
ct-
sheets/fs
150.aspx
• Faith
Bandler
discussin
g the
1967
Referend
um,
http://dl.
nfsa.gov.
au/modul
e/1025/

• ‘Australia
’s
involvem
ent in the
Vietnam

46
 War’,
http://w
ww.naa.g
ov.au/col
lection/fa
ct-
sheets/fs
117.aspx
• Australia
n War
Memorial
Website,
https://w
ww.awm.
gov.au/at
war/vietn
am/
‘Conflict –
Australians at
war’,
http://generat
or.acmi.net.au/
sites/default/fil
es/Generator_
Conflict_9.pdf

47
EAL11-1A Learning Deconstruction of the film The Sapphires
Intention
EAL11-1B Students Context of the director
will learn Students work in pairs to research the context, experiences and thinking of the
film’s director, Wayne Blair. In doing so, they have the opportunity to develop a
EAL11-2 about The
deeper understanding of his work in the filmmaking industry particularly in
Sapphires
relation to The Sapphires. Students represent their findings by writing the script
EAL11-3 of an imagined interview with the director. They may use this script to role play
Success the interview in front of the class.
EAL11-4 Criteria
Students First viewing of the film
EAL11-5 will be able Students view the film for the first time taking note of key aspects of the
to narrative and storyline of the text. The teacher scaffolds this process by providing
EAL11-7 summarise the following prompts:
key • Introduction of the film – time, place, circumstances, main characters
EAL11-8 aspects of • Series of events/complications – incidents where main characters go
the film. about achieving goals as well as challenges and obstacles they face along
the way (whether they be physical, mental, emotional, social and/or
EA11-9
political)
• Resolution – how the goals are achieved or not achieved in the
conclusion, and the high point of achievement in the action/conclusion.
The teacher provides opportunities for students to consolidate their notes
through class discussion after viewing the film.

Adjustment
Students make a timeline of the narrative as it unfolds in the film.

Setting
The teacher guides students to identify key aspects of setting. Students find
images or dialogue that signal the time and place that the story occurs.

Students answer the following questions in order to consolidate their learning

about the impact of setting

48
 • How is the setting of The Sapphires significant to the film?
• What does the setting suggest about the characters and their journey
• What does the setting suggest about the narrative/storyline?

Individual student reflection

Students use their understanding of the film to compose written responses to
some of the essential questions for the unit:
● What is the purpose of studying a text closely?
● What impact does context have on the understanding of text?
● How is a narrative represented in text?
The teacher assesses these responses in order to gauge students’ understanding
at this point in the unit.

Film Techniques

The Teacher explicitly teachers the following film techniques;

• Camera shots: extreme close up, close up, mid shot, long shot, extreme
long shot,
• Camera angles: high, low, aerial, crane, bird’s eye and POV
• Dialogue
• Sound
• Positioning
• Lighting
• Costume
• Props.

Flight

Students view the Tropfest film Flight and deconstruct as a class. Teacher to draw
attention to the lack of dialogue, use of symbols, shots and angles etc.

49
Second viewing of the film

Students view the film for the second time. The teacher stops at key scenes in
order to guide students through a detailed analysis of the content and
composition of the scene.

Characterisation
Students brainstorm their thoughts on the concept of characterisation
considering how an audience learns about characters through their actions,
thoughts and feelings, memories and dialogue.

Students have a discussion in which they identify and list major and minor
characters, noting down their physical and personality traits. They discuss how
directors reveal personality traits through character thought, behaviour or
language. Students identify the main character’s goals and how these goals guide
the story. Students use a table or other graphic organiser to organise the points
gathered during the discussion.

In small groups students use a graphic organiser to organise the points gathered
during the discussion.

The teacher provides students with a model response that explores a particular
character. Students read and annotate the text in order to understand its
language and structure.

Students use this model as a scaffold for their own written response on another
character. Students self-edit as well as gain feedback from their peers and
teachers to improve the quality of their response. Students use this to form part
of an essay in response to the question – How does Blair represent key characters
in The Sapphires?

Themes and concepts

50
Students work alone and then in pairs to compile a list of key ideas in The
Sapphires. As a class, students discuss these ideas and create a class list. The list
may include:
● prejudice
● gender roles
● overcoming obstacles
● familial relationship
● resilience
● interracial relationships
● the power of music.

Students write unfamiliar words and definitions in their vocabulary log.

The teacher selects a key scene from the film in order to model how to
deconstruct a scene effectively. Using the scaffold questions below, the teacher
and students take notes to answer the questions. After viewing, the class shares
their notes in order to form clear responses to the questions.

Scaffold questions:
• What ideas are explored in this scene?
• What is happening in this scene that makes me think about these ideas?
• What film features are used to help communicate these ideas?

Students are given a key scene and work in pairs to take notes in order to answer
the questions. Each groups’ work is shared via Google Docs or other platform so
that the teacher can monitor progress and provide feedback.

Using the notes developed during the joint construction phase, the teacher
shares a model paragraph with the students. Students annotate the paragraph
paying attention to:
• organisation of content
• references to film features

51
 • cohesive links.

Students use this model to construct their own paragraph based on the notes
taken on their particular scene during the group work activity. Students share
their paragraph with a student who wrote on a different scene and provide
feedback on the writing.

Motif
Students discuss the quote below:
‘In soul music they’re struggling to get it back, and they haven't given up. So every
note that passes through your lips should have the tone of a woman who’s
grasping and fighting and desperate to retrieve what’s been taken from her.’

Students use the ideas generated during the discussion to write a reflection using
the questions below as a guide:
• What was your understanding of soul music prior to studying this film?
• What impact do you think the genre of soul music had on your
understanding of the characters and the issues experienced throughout
the film? Justify your response.

Literary trope
The literary trope of moral conflict is a means of further delving into the
relationship between context, characterisation and concepts. Students are
allocated a moral conflict from the film. They select relevant scenes which
demonstrate the moral conflict and analyse how it is communicated through the
language forms and features. Students compose a discursive response detailing
their findings about the moral conflict. Examples of moral conflict in the film:
● The film is set in 1968, the year after Australia’s Aboriginal and Torres
Strait Islander Peoples won the right to vote. Despite this legislative and
political breakthrough, issues concerning prejudice and racism are
portrayed within the film by Blair. This idea is clearly witnessed in the
opening sequence, where despite their obvious talent, when the girls

52
 perform at the talent quest in the pub, they are either ignored or viewed
with contempt by the patrons.
● Further examples of prejudice, despite the law, is that of the Stolen
Generation, as the girls' cousin Kay was taken away by authorities at a
young age because she could ‘pass as white’ (sic).
● Later in the film, Kay and Robby (an African American) attempt to treat a
gravely wounded soldier who despite his urgent need for assistance, is
reactive towards Robby’s race and does not want to be touched by him.
On the flip side, Gail is often unapologetically cruel to Kay regarding the latter's
skin tone, taunting her about supposedly thinking she's superior to the other girls
because of her light complexion. Gail heightens this taunt by suggesting in one
scene that the only reason she's interested in Robby is to make herself ‘blacker’
(sic). For Gail, someone who has often faced taunts and racial mistreatment, it's
hypocritical.
EAL11-1A Learning Writing task
intention
EAL11-1B Students Students compose an extended response in relation to the question:
will learn
How does the composer represent the unique experiences of individuals in the
about The
late 1960s? In your response make detailed reference to at least two excerpts
Sapphires
from Wayne Blair’s The Sapphires.

As a class, students deconstruct the essay question. The teacher demonstrates

Success possible ways of organising the response. During the drafting process, students
Criteria engage in self-editing and peer-editing in order to clarify the quality of their
Students response.
will be able
to Prior to submission, students assess their own response using the marking
summarise guidelines provided by the teacher. Students submit this along with their essay
for teacher feedback.
key
aspects of Assessment task preparation
the film

53
 In preparation for the assessment task, the teacher develops a sample task based
on a scene that will not be explored as part of the summative assessment task.
The teacher develops questions that scaffold students’ ability to respond to
audio-visual material in a given time period. Students’ responses are marked and
students are given feedback.

The teacher leads a discussion that focuses on key techniques and strategies for
responding to audio-visual material in timed conditions
Learning
intention Teacher will explicitly teach essay writing to the class. Students will
Students complete essay-style questions based on prescribed texts.
will learn
about
extended
response
writing

Success
Criteria
Students
will be able
to write an
analysis of
The
Sapphires.

54
 Overall Evaluation of unit and Assessment

Teacher Signature: Head Teacher: Date:

55
 English Faculty – Registration

Unit Name:
Evaluation: Areas of concern in teaching this topic:
For each of the following areas please tick the appropriate box
☺ • ☹
1. Student engagement
2. Student understanding of
content
3. Preparation and planning
4. Time allocated for topic
5. Activities and teaching Comment on the assessment for this topic:
methods
6. Literacy strategies used
7. Numeracy strategies used
8. ICT strategies used
9. Suitability of resources
10. Sequencing of the unit
11.Student reaction

Comments:
What were the most effective aspects of this unit? What strategies would you use again?

Teacher signature: Head Teacher signature:

Date: Date:

56
 Original Assessment Task & Marking Criteria

Sample Formal Assessment Task Notification

EAL/D English – Year 11 – Module B

Context: In Module B Close Study of Text, students have closely examined the context, form, language
and ideas in Wayne Blair’s The Sapphires. They have developed their knowledge and skills to explore and
analyse the ways in which texts are composed for particular audiences, purposes and contexts. They have
studied the ways in which the director has shaped the audience’s understanding of and engagement with
the setting, storyline, characters and themes. Students have developed their writing skills through the
composition of a range of personal, creative and analytical texts through a close analysis of the
composition of and ideas in key scenes from the film.

Task number: 2 Weighting: 15% Timing: Term 2

Outcomes assessed:
EAL11-3 identifies, selects and uses language forms, features and structures of texts appropriate to a
range of purposes, audiences and contexts, and analyses their effects on meaning
EAL11-4 applies knowledge, skills and understanding of literary devices, language concepts and
mechanics into new and different contexts
EAL11-7 understands and assesses the diverse ways texts can represent personal and public worlds
EAL11-8 identifies, explains and reflects on cultural references and perspectives in texts and examines
their effects on meaning
Nature of the task:
You are to view an excerpt from the prescribed text, Wayne Blair’s The Sapphires, and answer four
unseen questions in the allocated time.

The excerpt used for this task will be selected from one of the following scenes:
a) Singing ‘Yellow Bird’
b) Performing ‘Today I started lovin’ you again’
c) The difference between country and soul music scene – Singing ‘I’ll take you there’

The first three questions will be related to the content presented in the excerpt with a focus on film
techniques and language used by the director to communicate values and concepts within their text. The
last question will be an extended response that requires you refer to the excerpt as well as the film as a
whole.
Marking criteria
You will be assessed on how well you:
● engage with the questions demonstrating knowledge and understanding of the messages
communicated through the excerpt
● display understanding of values, attitudes and ideas as represented through the excerpt and film
as a whole
● use relevant textual evidence to support ideas
● use language appropriately to communicate ideas.

57
Feedback provided:
Feedback will be provided through written annotations on the submitted task, as well as, comments on the
marking guidelines specifying strengths and areas for improvement.

Prior to students receiving their graded task, feedback will be provided to the class through a presentation.
The presentation will identify and explain areas of strength and areas requiring improvement which were
identified through the marking process. The teacher will also provide strategies for improvement based on
the identified areas.

Students observe and deconstruct a modelled response of the questions with teacher guidance. Ideally
this would be a script from the class with the student’s prior permission. Students are provided with the
marking guidelines and are asked to grade the response individually. The teacher explains the grade
allocated and provides justification for the result.

58
 Marking guidelines

Short answers
Question 1
Criteria Marks
• Composes a detailed overview of the scene 2
• Composes a simple overview of the scene 1

Question 2
Criteria Marks
• Explains how connection to culture is represented through the scene 3
• Describes how connection to culture is represented through the scene 2
• Identifies an aspect of culture depicted in the scene 1

Question 3
Criteria Marks
• Effectively explains the key ideas communicated through the scene 4–5
• Uses detailed textual evidence to support ideas
• Describes the key ideas communicated through the scene 2–3
• Uses some textual evidence to support ideas
• Makes a relevant statement about the scene 1

Extended response
Question 4
Criteria Marks
• Demonstrates a well-developed understanding of the values, attitudes and ideas 9–10
represented in the film
• Provides detailed textual analysis to support ideas in a sustained and cohesive
response
• Uses appropriate language to effectively communicate ideas
• Demonstrates understanding of the values, attitudes and ideas represented in the 7–8
film
• Provides textual analysis to support ideas in a sustained response
• Uses appropriate language to communicate ideas
• Demonstrates some understanding of the values, attitudes and ideas represented 5–6
in the film
• Provides some textual analysis to support ideas in a sustained response
• Uses language to communicate ideas
• Demonstrates a basic understanding of the values, attitudes and ideas 3–4
represented in the film
• Provides a limited response with minimal textual evidence to support ideas
• Attempts to use language to communicate ideas
• Attempts to compose a response demonstrating limited understanding of the 1–2
values, attitudes and ideas represented in the film
• Uses language with limited control to communicate ideas

Reference: NSW Education Standards Authority. (2017). English EAL/D Stage 6 syllabus. Sample
formal assessment task. Retrieved from:
https://educationstandards.nsw.edu.au/wps/portal/nesa/11-12/stage-6-learning-areas/stage-6-
english/english-eald-2017

59