3.0 Assignment Three – Adam Moulds

What’s your emerging model of classroom management?

Prepare a written description of your beliefs about classroom management. Include reference to the nature of human beings and how they develop, students’ capacity for self direction, how young children and young people react in different situations and treatments, the degree of control or coercion that should be used by a teacher, the degree of choice students are permitted and the role of the teacher. Provide a description of the principles on which you have based your model.


Well, this truly is the ‘mother’ of all educational assignments. Where does one begin in attempting this seemingly monumental task? There is literally limitless available theory with which an educator may draw upon in putting their thoughts to paper on the subject of classroom management and so many factors that should be considered.

Do I use a single existing theory? With such a wealth of wisdom at hand this would be most insensible. Do I synthesise components of different models to develop an eclectic theoretical orientation? This seems a logical exposition, but definitely does not sit well in the pursuit of a personalised discipline model or one that caters to the variety of situations that may emerge and indeed the variety of students that may exist within the classroom. Therefore, do I use a shifting model of classroom management that utilises theories and ideas which I see as relevant within the context of the drama learning environment? The answer of course must be, most definitely.

‘…lead teachers “…realise that their task in teaching is to use any tactic they can to help students learn.”’ (Charles 1999 cited in Coman classroom notes 2007)

There are also some more specific questions that beg to be asked. Does my model then have a preventative disciplinary component? What about a corrective disciplinary component? Furthermore, is it compatible within the context of the school I am currently teaching at? And, most importantly, are my beliefs about classroom management congruent with my own educational philosophy and my own personal beliefs?

The only saving grace in this question is that it asks what my ‘emerging’ model of classroom management is. This implies that not only is it o.k. that my ideas are not yet fully formed, but also that this may not ever be the case if I am to genuinely honour the inherent fluidity and constantly evolving practice of the teaching profession.

In essence, this assignment feels like a ‘best of’ compilation album i.e. the best education philosophies, behaviour management strategies and child development theories that I have discovered, evaluated and subsequently acquired during the previous assignments in this subject.

What I will attempt to do is link all of these ideas together (and a few new ones in keeping with the concept of ideological fluidity) through a comprehensive and effective lesson structure.

“If the lesson structure is good you will have the bulk of the students with you. For the others, classroom management theories such as those developed by William Glasser and (Patrick Connor’s) The Pain Model will help immensely… Of the 25 students you have in the class it will always come down to only four or five students who give you trouble. Of these, three of them just want attention, to be noticed and to be acknowledged. Develop a relationship with these students… In every class now there will be one or two students that fit into the Pain Model. Use experts to help these kids.” (Coman classroom notes, 2007)

The following sequence, although shifting in its various applications from year level to year level as to the relative degree of teacher control when compared with student autonomy, is essentially my emerging model of classroom management.

1. Calm the students down with a view to creating a sense of place

Often it is best to do this just outside the classroom before entering the learning environment. This is especially so if students have just come from recess or lunch where their energy levels have been high and thus their ability to focus more than likely needs to be encouraged.

In her book, ‘The Artist’s Way’, Julia Cameron speaks of building your artist’s altar.

“In order to stay easily and happily creative, we need to stay spiritually centred. This is easier to do if we allow ourselves centring rituals. It is important that we devise these ourselves from the elements that feel happy and holy to us.”

I use this idea as advocated by you, too, Allan, to initially connect with my students before class. I find that this works exceptionally well with my year 8 students who love the practice of quietening down as it then means that it is time to learn and to be creative. Also, time permitting I will arrive to class five minutes early to prepare the room in an arrangement that will be most conducive to establishing such an ambiance.


2. Lesson Instruction / Targeting the Zone of Proximal Development

Sub-textually paraphrased this is, ‘Today we will be learning something that is relevant to your lives and builds upon your prior knowledge with a view to developing a competency’.

In this section of the lesson structure it is essential to engage the student’s ‘imagination’ in order to stimulate their ‘motivation’ and potential for the ‘creation’ of knowledge.

e.g. ‘Today we will be workshopping our scenes up on the floor now that we all know our lines and by the end of the day we will have the blocking completely established.’

This sense of building a competency by the end of the lesson within a constructivist learning framework is very appealing to the majority of my class members who, as discussed in the previous assignment, fall into the ‘type 3’ category on the enneagram; the performer, the achiever and also have a preference for learning through interpersonal and bodily-kinaesthetic intelligences.

Within this, there should be a skill outcome e.g. learning how to manipulate and perform iambic pentameter contained within Shakespearean text; a knowledge outcome e.g. that Shakespeare and his contemporaries used this device to more comprehensively convey meaning by stressing certain beats within a line of verse or prose and; a value outcome e.g. that this newly developed skill and newly discovered knowledge will add to “the quality worlds of students” (Glasser cited by Edwards & Watts 2004) by providing them with a greater sense of their own intellectual, emotional and performance capacity within an historical and literary context.

Furthermore, the path of this lesson heads towards the apex of the revised ‘Bloom’s Taxonomy’, that essential ingredient and the summit to which we all should aspire; creativity.


This always relates back to your classic line, Allan,

“Every lesson must be geared towards creativity or you will have a riot on your hands.”

As a teacher at an all boys’ school, I know this statement to be one of fact.

3. A Warm Up Game

If there is one thing that drama student’s love, it is an imaginative, engaging and fun warm up game. I always take into consideration that the individuals who walk into my class may have just come from maths or business studies or some other subject where they are required to be seated, in what for the most part would be a chalk and talk type environment that, relatively speaking involves little social interaction. Piaget and Vygotsky would agree with me that the best way to stimulate the learning environment is not only to teach within the ZPD, but also to promote learning by constructing knowledge in peer groups and therefore, the drama warm up game has many functions.

It serves as a glue for the to-and-fro of a socially interactive learning environment, it frees the imaginations of my students so that they may head towards constructing and creating knowledge together by the end of the lesson, it alleviates self consciousness because this is not the ‘real game’ yet and so individuals feel safe to make mistakes within such a paradigm; And if the warm up game is carefully chosen it can be a terrific lead in to the learning activity for that day. In other words, what appears to be just a good, fun experience for students is actually an educational warm up massage.

This routine ritual of a warm up game not only gets my students focussed, but is also a primary ingredient in the development of my drama classroom’s habitus i.e. “This is the way we do things around here.” (Coman 2007) ‘We settle down, we listen to what we will be doing today in class and then we have a fun warm up game that is relevant to the lesson’s learning activity.’

Despite the fact that the majority of drama students fall into the previously mentioned set of personality criteria, it is still important to give a good variety of activities / warm ups that cater for a good variety of multiple intelligences in heading towards the daily competency. In this way all students feel included which assists in developing a vastly more manageable classroom environment.


4. Teacher Led Instruction

It is here that the theories of Glasser and Dreikurs almost entirely predominate. In demonstrating the desired competency I adopt a lead management style whereby not only modelling appropriate and productive behaviours, but also suggesting that if students choose to do this of their own free will they should feel acceptance within the group as a valuable class member e.g. I was working with a group of year 12 drama students recently and they said that they needed four separate accents to help convey diversity in their Playbuilding HSC task. I demonstrated how to do an American, English, Irish and ocker Australian accent and had them repeat after me until they were able to work autonomously. Once this was the case it was time for them to go off together and engage in the task with a view to coming back to show me how they had developed their competency. A little while later the students performed their piece for me and it was outstanding, with all the accents in tact.

I still remember something you said vividly, Allan, when I first saw you and thanked you after learning of my appointment at The Kings School,

“You did it yourself mate.”

At the time I though this was just humility, which to a degree it may have been, but since then through my own teaching experiences I have discovered that students need to feel as if they have done it on their own and in fact it is the facilitators responsibility to guide them into the task and have them create the competency for themselves.

During the teacher led instruction it is interesting to note how students begin to relate to one another in order to understand and create knowledge and in doing so are forming positive and productive relationships just as Dreikurs’ suggests will happen. It is at this point that teacher led instruction and control should be handed over to student directed activity and autonomy.


5. Student Directed Activity

Here it is very important that groups are selected by me so that no one feels excluded from the group dynamic which would hamper their feelings of social security (Dreikurs) and their individual needs for love and belonging (Glasser). It is also at this point that I begin to roam around the classroom offering my assistance to groups as they may or may not need it, always with a view to them solving the problem and creating the knowledge with minimal teacher control and maximal student autonomy.

However, anyone who has spent some time facilitating in a learning environment knows that this utopian vision of classroom management does not always materialise and therefore the authoritarian motivating forces of Cantor and Skinner can sometimes require necessary implementation. The primary driving force behind the use of either of these theoretical applications is to be an assertive voice so that there is equality in the learning environment and that everyone has the opportunity to learn. I make a concerted effort never to abuse this power or method of discipline as I know not only is it an ‘empty tank’ type resource, but also,

“Students pick up very quickly why you want to control them. If it’s just to teach and have a quiet room, you’re screwed. If it’s to help them learn, you’re home… Use power for and with the students.” (Coman 2007)

This is very sound advice.


6. Performance / Demonstrating the Competency

The performance element which I have at the back end in the majority of my lessons makes the learnt competence a reality. The performance may be for the whole class, just for me to see and constructively evaluate or occasionally, for assessment purposes as was recently the case for my year 11’s, for the whole school population. This more than anything, due to the outgoing and extroverted nature of so many drama students, tends to be the driving motivational force behind them directing positive energies into classroom activities. Once again, this idea is validated by the type 3 enneagram classified personality type.



7. Feedback

This component of the lesson allows informal classroom discussion / a forum in which students may provide positive and productive comments on their peers’ work. According to Hattie,

“The most powerful single moderator that enhances achievement is feedback.” (Hattie 2003)

With this in mind I also ask the students to reflect upon their own learning experiences and to write down a logbook entry so as to facilitate the process of deep learning. Occasionally, I also implement a small meditation session where students are encouraged to reflect on their learning quietly and in their own space.



I have used this symbol at this point in the assignment to show the balance that I feel is required in education. Students need time to be active within the classroom, but they also need time to be reflective. This, I feel is truly when the deepest of learning occurs. This symbol also shows how I feel about homework. Students should be active learners during the day, but at night they should mostly rest apart from maybe just a small reinforcing activity such as learning lines or doing a little bit of research on the internet for a character, for example. An expression used by a great director I once worked with was ‘You need to let the doe rise.’ The subconscious will take care of the processing once you have put the work in, but you do need to give your mind and body the time to let it do so.


8. Lesson Conclusion

As you have suggested, Allan, even if this is just a symbolic and routine way in which to wrap up the day’s proceedings, it does give the lesson a sense of closure. Also, I have found it is a great time to share with the students what we will be working on in the next class and to wish them a pleasant rest of the day, a good night or an enjoyable and relaxing weekend.


It is so vitally important to conscientiously develop lessons and units of work that will actively engage all the students. Yes, the lesson structure is crucial, but the learning content within that structure I believe is just as crucial if you are to truly engage your students. This means catering to the various multiple intelligences and knowing what children will see as relevant learning to their lives.

The most successful unit of work I have devised thus far has been that of ‘Physical Theatre’ for my two year 9 classes. It involved inclusive activities that were student-centred and focussed on social interaction as a means of constructing knowledge that led to a performance (type 3’s). It appealed to the creative imaginations of those who prefer to learn through interpersonal and bodily kinaesthetic intelligences, was within their zone of proximal development, developed a productive and positive habitus, provided a means of satisfying students with all of Glasser’s five genetic needs (especially fun), required little to no assertive disciplinary measures from me and only occasionally was I required to lead them through certain activities. It was also partly researched on the internet which connected them to a greater framework of learning outside the classroom walls and in having to produce a logbook documenting the process, the learning was also of a deep nature.

It is now within these parameters of a lesson structure and unit content that I am focussing my classroom management / teaching practices.


Specific Preventative Strategies / Theoretical Applications

“The naughtiest child will get involved in active learning if you create activities that engage the child.” (Coman 2007)

Luckily and thankfully, drama is a subject that naturally accommodates these types of students. However, I also am constantly attempting to adopt classroom management practices that revolve around: student-centred learning, active learning and higher order learning in the form of creativity.

Inclusiveness is also a terrific preventative classroom management strategy.

“The more you have activities that include people, the harder it is for activities to exist which exclude people.” (Coman 2007)

This underlying principle permeates through just about every lesson that I plan and implement in drama and is in accordance with the great theories of Dreikurs who suggests that,

“People are, basically, social in nature and, as such, have an innate drive to belong to a social group.” (Coman classroom notes 2007)

Another idea of Dreikurs’ which I like very much is the notion of being a teacher who is ‘firm, but kind’, or as Tony Macarthur has put it in his classroom notes, ‘Firm and Consistent’.

“A teacher can be firm yet still supportive and friendly with students. A firm teacher can provide an environment where the students feel safe and secure to learn.” (Macarthur 2007)

This leads straight into Glasser’s notions of catering for the five genetic needs of human beings and more specifically, students in the classroom environment and at the top of that list is;

Survival, safety and security,

“Students who don’t feel connected and in relationship with the teacher and the other students do not feel they are in a safe environment in which to create a competency.” (Coman classroom notes, 2007)

Developing educationally advantageous relationships is also a high priority in Glasser’s and now my own model of classroom management with a focus on fostering ‘connecting’ rather than ‘disconnecting’ teacher-student interactions and habits.

Meeting the other basic needs as implied by Glasser also acts as a highly effective misbehaviour preventative strategy, these being:


Love, belonging and acceptance,

“Students need to be told, over and over, that they are loved – not because of what they do, not in spite of what they do, but just for who they are.” (Edwards & Watts, 2004);

Personal power, competency and achievement,

“We need to have a sense of control, mastery and achievement…fulfilling one’s power need appropriately is not ‘power over’ others but ‘power to’ oneself.” (Edwards & Watts, 2004)

Freedom, independence and autonomy,

“For a boy to turn into a man, he must be challenged and he must be allowed to adventure beyond fences.” (Dr. Hawkes 2007)

Fun and learning,

“…the fun need … is met through enjoyment, learning and a sense of satisfaction. Many experiences can provide pleasure or enjoyment. But if they do not also provide a real sense of satisfaction, then, according to Glasser’s usage, they are not fun.” (Edwards & Watts, 2004)


In terms of using praise as a preventative measure and relationship developing agent in classroom management it is crucial that,

“Effective praise…Is given for genuine effort, progress, or accomplishments which are judged according to standards appropriate to individuals.” (Coman classroom notes 2007)

I like to think of it as a system of ‘personal bests’. It always frustrates me when my students wish to compare their marks with others in the class. I try to remind them that they are all on an individual journey of learning and therefore every individuals results are specific to them only and will vary according to what phase of the journey and indeed what particular journey they may be on.

There are also a host of non-verbal classroom management preventative strategies which assist in curbing misbehaviour. At The King's School teachers must wear a tie and it is this degree of visual professionalism that I feel aids in creating an atmosphere of respect in the learning environment. Other factors that are important, as discussed by you Allan are: being thoroughly organised, using a low calm tone of voice, your physical location in relation to the students i.e. centred amongst them so that they all can see and hear me equally and so that I can see and hear all of them equally too. Finally, using specific and familiarised ‘quiet down’ gestures and moving within the personal space of students can also be very effective to get them back on task.



Specific Corrective Strategies / Theoretical Applications

“Don’t talk about the person talk about the problem.” (Coman 2007)

This a wonderful approach to correcting inappropriate classroom behaviours as it completely removes any chance of a student seeing your attempts at rebalancing the ambiance of the learning environment as a personal attack.

If this fails to work, removing the student from their current context is an excellent way to discontinue the disruptive behaviour. All it takes is five minutes, sometimes less and it is more the act of disconnecting the student from their peers that teaches them to regain focus so that they will not have to revisit another period of isolation.

If this too fails to work, I implement the Reality Therapy process as developed by Glasser and conduct a small interview with the offending student at the conclusion of class. These interviews occasionally need to be revisited to assess a student’s progress as to their levels of focus within the classroom, but more often than not are resolved from a one off discussion. During this therapeutic dialogue I attempt to understand the student’s motivations for their misbehaviour and my tendency towards an eclectic and shifting theoretical model is most evident at this point as it is the flip-side, yin-yang approach contained within Dreikurs’ ideas that I bear in mind. Or, as Dinkmeyer, McKay and Dinkmeyer articulate it,

“In the democratic discipline model ‘each goal of misbehaviour has a positive counterpart’.” (Cited by Edwards & Watts 2007)

If a student is seeking attention, I ignore the negative and affirm the positive
If a student is seeking power, I avoid the conflict and give him a leadership role (or as the case may be in drama, a lead role)
If a student is seeking revenge, I’ll be friendly and kind towards him
If a student is displaying inadequacy, I’ll be gentle and provide encouragement

As mentioned in assignment one, I am striving to mould a classroom environment that flourishes with creativity to the point that the discipline model within my lessons is an almost invisible, yet omnipresent force absolved in high levels of student motivation and the desire to be constructively educated in a way that adds quality to one’s life and in turn to the community. However, at times students will inevitably misbehave and this will resemble no bearing on teaching instruction or lesson planning. When this occurs there is one element that is essential to remain true to;

“Consistency in the application of consequences is the key factor in classroom management.” (Coman classroom notes 2007)

Children, even more so than adults, have an acute sense of what is fair and what is not.



Interestingly, those students who fall within the parameters of the Pain Model are at once applicable to the categories of the preventative and corrective classroom management strategies. For these students,

“…the use of punishment is ineffective. When the students’ pain is addressed there is, in practice no need to use other traditional behaviour management strategies because the misbehaviour ceases spontaneously.” (Edwards & Watts, 2004)

To increase their motivation for learning activities the pain itself must first be treated.

“…a person who is experiencing psychological pain is unable to turn their mind to schoolwork and positive interactions until such time as the pain is relieved.” (Edwards & Watts, 2004)

In order to successfully assess, address and subsequently reintegrate a student who is in ‘emotional’ pain, I aim to take the following steps:

· Relieve the pain and calm the student – listening and slower breathing strategies tend to be most effective here.

· Re-skill the student – as a drama teacher the easiest and most conducive path to re-motivating the student towards re-engagement with the class is by re-enacting the scene. This can seriously aid in the development of and equip a child with ‘Emotional Intelligence’. A quick role play with a theatrically savvy drama student rehearses them into making more beneficial choices as to courses of action in order to deal with difficult circumstances. I have also found whole class meditation sessions to be very beneficial in ‘managing the classroom climate’.

· Reconstruct self-esteem – primarily through positive and specifically directed praise have I noticed this technique to reap rewards.

· Use Related Strategies – e.g. ‘Whole Brain Teaching’ i.e. targeting education and classroom interactions to both hemispheres of the brain through ‘active learning’, not just reactive/passive chalk and talk style teaching practices. This methodology can be very effective for students who fall within the auspices of the Pain Model, but also a good way to prevent individuals from getting to this point in the first place.

· Refer for Professional Assistance i.e. firstly, to the school counsellor at Kings and he can handle it from there through more intensive re-skilling practices than a class teacher has time for. If this still proves unsuccessful, then only by referring the child on to a professional psychologist may the situation be resolved, assisting the student to begin to climb out of their emotional turmoil.



The most important consideration in the philosophy of classroom management, I believe, is Glasser’s key tenet of choice theory which states,

“…the only person’s behaviour I can control is my own. Hence, the teacher focuses on themselves, the relationship with the student and the support being offered to enable quality outcomes.” (Edwards & Watts, 2004)

As a teacher there is no point in becoming emotionally involved, anxious or irritated by your student’s disruptive behaviours. Students are young adults who do not yet have fully formed cognitive or maturity faculties and thus it is more a case of administering a theoretical diagnosis’ to get them back on the task of learning.



Other Key Considerations


The Gift

“Every child is gifted. Find that gift and affirm that gift.” (Coman 2007)

This, to me, is one of my central tasks as a teacher. Not every child will become an actor, a director or a theatrical practitioner of any sort. Not every child is meant to. However, through my teaching practices and under my guidance it is my job to help uncover and develop their natural gift. There is one student that I currently teach in year 9 that immediately springs to mind. This young man is hard working, confident, cooperative, intelligent and creative. At parent-teacher night, his parents informed me that he wants to be a court lawyer. I was unaware that this was his desired career path, but was most definitely aware of his abilities to get up in front of people and perform and knew that this was his gift that needed to be affirmed.


Getting All My Students ‘Across The Line’

“Motivation will increase if you’re all part of a winning team… Nothing succeeds like success.” (Coman 2007)

It is vitally important that I have a fundamental belief that all my students are capable of achieving. I should aim to at least help every one of them attain a ‘B’ grade. There is no reason for there to be any students performing under this benchmark. This idea is wonderfully summarised with Mr Escalante’s words in the inspirational film, ‘Stand and Deliver’, that essentially teaches teachers how to teach,

“Students will rise to the level of expectations in you…
… Ganas. All we need is ganas. Desire.” (1989)




Fundamental Classroom Rights And Responsibilities

“Respect, Teamwork and Commitment.” (Weigler, 2001)

Coincidentally, when I conducted my rights and responsibilities surveys across my drama classes these were the most popular responses.

Furthermore, Ford’s Responsible Thinking Process Model speaks volumes with regards to the social justice implications of successful classroom facilitation and I wholeheartedly attempt to abide by this philosophy.

“All students have the right to learn and teachers have the right to teach in safety. No-one has the right to disrupt the teaching-learning process, to prevent other students from learning or to violate the rights of others.” (Edwards & Watts 2004)


Connectivity

“Student learning has a new manifestation in this era of information rich technology… teacher leaders focus on helping learners to communicate with others to find relevant and accurate information for the task at hand; be co-learners and knowledge producers.” (Katyal & Evers 2004)

I am now beginning to book computer rooms in the C.L.L. regularly to ensure my students stay connected and informed learners who exist within a global framework.


Habitus / Classroom And School Culture

“The way we do things around here.” (Coman 2007)

The King’s School is an environment that promotes learning and leadership. The traditional name given to the library is even replaced with a more modern take on this epicentral educational building; The C.L.L. i.e. the Centre for Learning and Leadership.

Throughout the C.L.L. there are many tributes to leaders gone by. This is aimed to inspire the students towards developing leadership qualities in themselves. The Headmaster, Dr. Tim Hawkes, has also published a series of books called ‘Learning Leadership’ which we as teachers go through with our students in tutor group.

Furthermore, King’s being the all boys school that it is has provided me with a wonderful vocational opportunity. Occasionally I have thought that my appointment there is some act of fate, because it allows me to encourage, lead and reassure young men that it is o.k. to be sensitive and creative and to still very much be a man. In fact, the world is so desperately craving this transition right now from males who are at loggerheads with one another. The advent of sensitive, creative solutions could bring about a huge shift in attitudes towards genuine globalisation.

Dr. Hawkes wrote a very interesting article on the front page of the school’s weekly publication, ‘The King’s Herald’, titled ‘Don’t Fence Me In’, speaking specifically about the nature of boys and their need to be afforded the opportunity to be just that.

“Too many boys are becoming androgynous beings that blur the Yin Yang of God’s human creation. Society does not help with it barely able to conceal its distrust of those afflicted with the toxic touch of testosterone… I wish to reclaim that it is all right to be a boy, it is all right to learn differently, to play differently and to think differently, it is all right to explore the edges, for that is often where the rewards are to be found.”

Robert A. Johnson unwittingly highlights the need for effective boy’s education in his book, ‘He: Understanding Masculine Psychology.’ In it he suggests that,

“Every youth blunders his way into the Grail castle sometime around fifteen or sixteen and has a vision that shapes the rest of his life… Perhaps it is a sunrise, a glorious moment on the playing field, a solitary time during a hike when one turns a corner and the whole splendour of the inner world opens for one.”

This occurrence may not happen in my drama classroom and if it does it will not necessarily mean that a student of mine shall become an actor, a director or a playwright. However, this glorious vision may come in the form of: the joys of teamwork, the magnificent confidence that ensues at the completion of a successful solo performance / presentation, or a keen interest in the infinite complexities of the human condition. With the habitus of leadership and creative learning that permeates through the very foundations of The King’s School, the chance that a boy may stumble upon his grail castle there are most definitely given the best opportunity possible.


Teacher Leadership

“Lead the child forward. Don’t just keep them out of harm’s way. Put them in the driver’s seat in their own lives.” (Coman 2007)

When I hear a teacher comment on a certain child in an unfavourable way, implying they would be happier if that student was not in their class, I think they are really not willing to accept the real responsibilities of teacher leadership. Students are young adults without fully formed emotional, intellectual or social maturity and often do not know why they behave in the ways that they do. By applying various educational theories and through understanding their situations and motives, these are the children that you can really assist in turning their lives and their learning experiences around.

Furthermore it is the teacher’s role to facilitate an environment that makes students desire to learn in order that they may, as Glasser would advocate, ‘add to their quality world’s’.

“In classrooms, teachers display leadership by enabling students to make meaning of the formal curriculum. It is not just a question of good pedagogical skills but the ability that teacher leaders have of being able to link school-based learning to its practical applications in the real world.” (Katyal & Evers 2004)

Advocating teacher leadership within the classroom and indeed within the context of the school environment is a comprehensive responsibility, but one, as Dr. Hawkes has suggested that does bring about the real rewards of being involved with the teaching profession.

“Leadership is not a soft option. It is not something that should be entertained by the weak or by those who wish to have the trappings of leadership to bolster their ego… Leadership, when it is servant leadership, is one of the most intensely satisfying of all privileges, and this causes any hardship brought on by leadership to be given the balm of a deep sense of satisfaction.” (Hawkes 2005)


My Own Personal / Teaching Beliefs

“…what we desire in students’ behaviour will not materialise until we choose those strategies that are most consistent with our own beliefs in achieving those ends.” (Edwards & Watts, 2004)

I believe that all people and indeed all children are capable of being creative individuals. Creativity is the life blood and glue that I believe unites humankind and helps lead us all to a better world in which to live and love. I will conclude this assignment with a few of my favourite quotes from Julia Cameron’s ‘The Artist’s Way’ that would imply that my religion finds its home at the apex of Bloom’s revised taxonomy and I only hope that throughout my journey as an educational facilitator / teacher leader, that I can impart some of these ideas onto my students;

“Why should we all use our creative power? Because there is nothing that makes people so generous, joyful, lively, bold and compassionate, so indifferent to fighting and the accumulation of money and objects.”

“Creativity is God’s gift to us. Using our creativity is our gift back to God.”

God as an acronym;

“Good Orderly Direction.”

“My creativity always leads me to truth and love.”

“…the term enlightenment is a literal one. Students’ faces often take on a glow as they contact their creative energies.”

(Cameron 1995)




References

· Edwards C.H & Watts V, 2004, Classroom Discipline & Management an Australasian Perspective, John Wiley & Sons Australia Ltd, Qld
· Coman, A, 2007, Classroom Notes, University of Notre Dame, Syd
· Friedman, T, 2007, New York Times, NYC
· MacArthur T, 2006, Classroom Notes, University of Notre Dame, Syd
· Hattie J, 2003, Distinguishing Expert Teachers from Novice and Experienced Teachers, University of Auckland, NZ
· Cameron J, 1995, The Artists Way, Pan MacMillan Ltd, London
· Weigler W, 2001, Strategies for Playbuilding: Helping Students Translate Issues into Theatre, Heinemann, Portsmouth, NH
· Regis M, 2007, Classroom Notes, University of Notre Dame, Syd
· Youitt, D.J. , 2004, Leading and Managing – Journal of the Australian Council for Educational Leaders, Vol 10, Number 2, Qld
· Katyal, K.R. & Evers, C., 2004, Leading and Managing – Journal of the Australian Council for Educational Leaders, Vol 10, Number 2, Toowoomba, Qld
· Dr. Hawkes, T, 2007, Learning Leadership – A Leadership Course for Secondary Students, Book 2, The King’s School, Syd
· Dr. Hawkes, T, 2007, Staff Meeting Address, The Kings School, Syd
· Johnson, R.A. , 1989, He: Understanding Masculine Psychology, Harper Collins, NY
· Stand and Deliver, 1988, Directed by Ramon Menendez, Warner Bros Inc.
· www.calstatela.edu 2007
· www.enneagram.com 2007
· www.9types.com 2007
· http://en.wikepedia.org/wiki/Rudolf_Dreikurs 2007

Assignment Two – Adam Moulds

2.1 Gardner and others have emphasised the different learning styles of students. How would you use the theory of one Psychologist to effectively engage a particular preferred learning style?


I have decided to explore the heart of this question from the vantage point of being a teacher and an actor, a facilitator and a past student of the dramatic arts. In attempting to do so, I will investigate and evaluate the preferred learning styles of the most common and at once the most frequently productive and disruptive drama student; the individual who learns through interpersonal intelligence and bodily- kinaesthetic intelligence. Furthermore, I will explore another highly favoured ‘personality types’ theory, the Enneagram and more specifically, those who may be categorised as a type 3: the performer, the achiever, the motivator. From my experience, it is these three classifications together that most aptly summarise the typical child who is educated under my leadership and care.

My next challenge is the effective engagement of this type of student using the theory of one psychologist and it is with the key idea of, ‘Forming a Sacred Circle’, expressed in ‘The Artist’s Way’ that I arrive at my decision.

“It is my experience as a teacher that an atmosphere of safety and trust is critical to creative growth.” (Cameron 1994)

For this reason I have selected the applications and methodologies of Rudolf Dreikurs ‘Democratic Discipline Model’, which has at its core people’s ‘innate drive to belong to a social group’ (Edwards & Watts 2004). It is the individual who learns primarily via interpersonal intelligence that so earnestly needs to belong to a social group, it is the performer who requires a ‘sacred circle’ to creatively flourish that depends upon this social group and it is the practical intelligence of bodily-kinaesthesia that makes this a reality.

Not only does Dreikurs suggest ‘that all humans have a primary need to belong to a social group’ (www.calstatela.edu 2007), he ‘also believed that all students desire to feel they have value and to feel they can contribute to the classroom’. This notion is of paramount importance to those who fall within the personality parameters of type three on the enneagram. Or as the following ‘Basic Proposition’ of the type 3 suggests,

“Love, acceptance, and recognition results from performance, achievement and success. Attention naturally goes to task.” (www.enneagram.com 2007)

According to this logic, and personally I am familiar with the concept all too well, this type of students not only wants to perform, they need to perform. And it is through the development and implementation of classroom activities and assessments that foster the marriage of interpersonal and bodily-kinaesthetic intelligence that their valued belonging to the group can occur.

It is imperative for me as a teacher of drama that I follow this constructivist interaction amongst individuals within my classroom with a focus on performance so as to maintain a positive and productive social ambience and equilibrium. For it is when the necessary balance of this equation is disharmonious that the democratic discipline model suggests that problematic behaviours will arise.

“…when students are not able to gain their genuine goal of belonging they turn to a series of mistaken goals.” (www.calstatela.edu 2007)

It is these mistaken goals which can unfortunately cause disruptions to my classroom and according to Edwards & Watts et al, Dreikurs proposes a threefold ideology to teachers in his principles of the democratic discipline in having an effect on these misbehaviours:

1. Try to understand why a student is behaving in a particular manner
2. Allow students some say in decisions that affect them
3. Be a kind, responsible, accepting person who models for students the behaviour that is expected of them.

In response to point one, when a student in my class is misbehaving despite a lesson plan that has catered for the type 3, interpersonal and bodily kinaesthetic learning individual and, furthermore, it also appropriately hones in on there zone of proximal development, I immediately know there is a high chance that a particular psychological need is more than likely not being met. In affirming the guidelines outlined in point two, I have recently conducted a privately written ‘Rights & Responsibilities’ forum amongst every student in all my classes and come up with a consistent policy which I am currently applying across the board and is achieving highly successful outcomes. Also, when casting classroom plays students can bid for certain roles and in the unit on ‘Playbuilding’ they are to decide upon their own topic and create from scratch a piece of theatre themselves. And, thirdly, as I am also the typical type personality that most often finds its way into my drama classes, I understand the humanity and guidance that is desired by the students from their teacher.

However, despite the above and the obviously the fact that not all my students are within this personality/learning type classification, the fact remains that there can be behavioural issues which need to be sensitively dealt with.

Dreikurs makes it clear that understanding your own teaching style can go a long way to further developing the trusting and positive educational relationship a teacher may have with their students. Particular emphasis is placed on the benefits of adopting a democratic style which encourages the development of student autonomy and since practically evaluating the following suggestion, also helps keep the teacher’s emotional tank full;

“(Democratic) teachers do not feel compelled to habitually correct the behaviour of their students.” (Edwards & Watts 2004)

Dreikurs also goes on to suggest that these behaviours are generated by students attempting to satisfy mistaken needs and goals and that the teacher should not take the bait.

“Teachers … should avoid responding in the way the student wants. To do so implies that the student is the person in control.” (Edwards & Watts 2004)

I have only been in the profession of education for a fairly limited time, but I know this statement to be so wise and so true. The performer and interpersonal learner so desperately wishes to connect with others on a level that involves achievement and they will stop at nothing till this goal is attained. If this desired need is not met then as a teacher of any drama class, anywhere, you can expect the negative classroom consequences of disruption, low productivity and group imbalance.

In conjunction with the theory of Dreikurs, Edwards & Watts et al also put forth the directions on how a teacher should deal with students acting out and, I paraphrase to suit my needs of latter reflection:

If a student is seeking attention, ignore the negative and affirm the positive
If a student is seeking power, avoid the conflict and give him a leadership role (or as the case may be in drama, a lead role)
If a student is seeking revenge, be friendly and kind
If a student is displaying inadequacy, be gentle and provide encouragement

It is this flip-side, yin-yang approach that I find so appealing about the model established by Dreikurs. Or, as Dinkmeyer, McKay and Dinkmeyer articulate it,

“In the democratic discipline model ‘each goal of misbehaviour has a positive counterpart’” (Cited by Edwards & Watts 2007)

The very same idea is present within the mindset of a type 3 on the enneagram and therefore they must be taught to positively harness their need to perform so as not to go too far down the path of mistaken goals.

“3’s have an unusually strong inner contradiction; they project qualities of leaders: drive, energy and success, and yet their definition of success is usually dependent on the values of the society they belong to.” (www.9types.com 2007)

Thus, it is the teacher of this type of student who has the responsibility to lead the child down the path of belonging for the right reasons i.e. positive, collaborative, classroom contributions and not negative, self-centred, classroom retributions.

So how does one effectively teach a student, and indeed a body of students who appear to have such high needs and at the same time create an environment of belonging that Dreikurs believes is the linchpin of all human values? The answer most surely rests in the hands of the Steiner school educational lesson philosophy;

‘Head, heart, hands.’ (Coman classroom notes 2007)

‘Head’ to stimulate the discussion of ideas amongst the ‘people smart’ interpersonal learners, ‘heart’ to accommodate the feelings of valued community acceptance for the ‘performer’ and ‘hands’ to concentrate the activities of the ‘body smart’/ bodily-kinaesthetic preferential individual.

The cornerstone of the democratic discipline model developed by Dreikurs’ was that,

“…students would learn to cooperate reasonably without being penalized or rewarded because they would feel that they are valuable contributors to the classroom.” (http://en.wikepedia.org/wiki/Rudolf_Dreikurs 2007)

What better way to contribute then by being an active member. Thus, I will conclude with the wise words of the educator, John Holt,

“We learn to do something by doing it. There is no other way.” (Cited by Cameron 1994)


































2.2 You were provided with a one page overview indicating the relative control level of teachers in the classroom. Do you agree with this overview? Does it provide a means to manage the diversity in your classroom? Is it implying that you should use different methods of management with different students?


In following on from the democratic ideas expressed within assignment 2.1 and upon observing my preference for the model of classroom management advocated by Glasser in assignment 1.3, it becomes quite obvious which area of the one page overview my educational practices lean toward. However, not all students are the same, not all classes are necessarily similar in nature and subsequently it is my belief that not all of ones instructional/facilitation methods of ‘successful classroom teaching’ should reside under the one philosophical umbrella.

The founder of the school of Lead Management has spawned followers of his own who support this individual, kaleidoscopic ideology and one would be a fool to ignore the relative benefits which may accrue if the various methodologies were not to be implemented as occasion called upon them.

‘…lead teachers “…realise that their task in teaching is to use any tactic they can to help students learn.”’ (Charles 1999 cited in Coman classroom notes 2007)

Thus, in discerning whether or not I agree with the overview provided, I will work my way from the bottom of the sheet to the top i.e. I will very briefly investigate and comment upon each individual psychological theory, its inherent assumptions and discipline styles and my belief as to its benefits in managing the diversity that is present within every classroom.


On the whole, the Behaviour Modification Model proposed by Skinner has a ridiculous set of assumptions. To suggest that human beings have no will, also implies that individuals have no capacity for intrinsic motivations. This is a very bleak synopsis of the human condition. If we take this idea one step further, the core beliefs of this model are that human beings have no desire for self improvement, genuine relationships or even a soul/spirituality of any kind and are simply automatons in the pursuit of pleasing a teachers needs. It is interesting to note that research into this model of total teacher control actually promotes the opposite result of its goal; rebellion and a resistance by the majority of students to modify their behaviour.

The Assertive Discipline Model also contains a similar collection of dictatorial assumptions that would have us believe that human beings desire to be controlled and experience little self determination as to their own free will. Historical uprisings such as the French Revolution and to no lesser extent what is currently happening with the situation in Iraq prove this concept to be a fallacy. People want to have greater levels of control over their own destinies, just like students desire increasing levels of autonomy over their learning experiences as they head towards maturity.

Lee & Marlene Canter’s model is not all doom and totalitarian gloom though, it does contain one important ideology I believe and that is the collaboration of teachers, school administrators and parents to establish, enforce and maintain a solid, bedrock of rules. My brief experience at The Kings School has shown me that this provides the majority of students with a sense of safety and security in which they can be educated. Obviously any school disciple policy is up for criticism, as is any overall classroom behavioural management practice. The primary issue at stake here is that students who step beyond the expected behavioural parameters of the individual classroom, be they teacher defined and regulated or teacher/student defined and regulated should suffer the logical and consistently applied consequences. It is my observation and my own personal recollection of being a student, that stability is a vital commodity for school children. Whatever the fluctuating levels of relative control may be from class to class, students like to know that their teachers, whether situation ever calls upon it or not, are highly capable and responsible disciplinarians.

Having now focussed upon and sifted through the authoritarian styles of classroom management, I will now investigate the authoritative discipline models which tend to balance out the relative levels of control for both teachers and students. It is here that teacher’s border on teacher/facilitators in the pursuit of leadership in learning.

The assumption that student’s misbehaviour is the result of misdirected attempts to belong to the class group, or a group within the class, was and continues to be a mini revelation for me. Via first hand experience I have guided the process and observed the subsequent affirming results of the Democratic Discipline Model. In discussing with and encouraging students to replace their misbehaviour with positive attention seeking, task oriented action in the form of performance, my drama classroom has taken on a far greater productive and harmonious ambiance. It is one of those rewards so often heard about in teaching, but genuine when it is right before your very eyes, to watch a student’s face light up when they have been accepted by their peers for positive and productive creative learning interactions.

Glasser’s Choice Theory, Reality Therapy and Lead Management are at the centre of the overview provided for very good reason. His theories on successful classroom teaching truly are the linchpin of all ideologically sound educational philosophy. Glasser’s ideas are well balanced in terms of relative control levels in the learning environment and reflect the needs of the Generation Y’s/Digital Natives that we as teacher facilitators find under our guidance today.

The five genetic needs of survival, love and belonging, power, freedom and fun can all be found in different guises in each of the other discipline models contained within the overview. His idea that, ‘The only person whose behaviour we can control is our own’ (Edwards & Watts 2004), staunchly advocates the yin and yang of teacher/student relationships in the ever fluid concept of classroom control and autonomous learning. His Reality Therapy program is the quintessential practical methodology in developing healthy education based relationships between teachers and students and is, as you say Allan, ‘At the heart of classroom management’. Furthermore, his thoughts on developing a quality school in the pursuit of adding to the quality world’s of students, almost negates the need for a discipline model. Instead, this pedagogical construct views educational leadership by a highly capable facilitator as the epicentre from which all classroom activity and learning stems.

The assumption contained within Rogers’ Positive Behavioural Leadership Model that, “Classes are small communities of learners and teachers relate to students as community members” (Edwards & Watts 2004), takes the ideas of Glasser from the macrocosm to the microcosm and has its place under his theories as a warm blanket upon which they may rest. The concept of every classroom being like a small community lends one a license to make a political comparison with regards to this model’s relative level of control and how it caters for differences within the group. Each classroom is a unique whole, similar to a state within the entire country of the school. The teacher facilitator of every individual class must be a figure modelling positive leadership behaviours and engaging the various community members in productive and progressive learning activities; a prime minister governing their people to a fortuitous and socially aware future. Furthermore, its positioning in the authoritative column of discipline is also suggestive of its educationally and politically balanced views on managing the learning environment.

Gordon’s Teacher Effectiveness Training Model has a few gems of its own when it comes to understanding classroom management and its various underpinnings.

“Students commonly rebel when their teachers actively regulate their behaviour… Rewards and praise may undermine intrinsic motivation…; (and) Punishment (can) destroy teacher-student relationships.” (Edwards & Watts 2004)

These assumptions counteract those expressed on the other end of the spectrum by the likes of Skinner and Canter. If students behaviour is attempted to be ‘modified’ or the level of control exercised by teachers is too ‘assertive’, than you can expect to have a situation on your hands. By the same token if classroom facilitation is too laissez-faire than teachers can expect to feel emotionally ‘modified’, as power seeking students assume the role of the ‘assertive’ controllers of a classroom’s learning climate.

This is not to say that the rebel does not have their place in the culture of education and indeed should be seen as very important in a teacher/facilitator understanding if their classroom management approach is a match for the individuals within it.

“The rebel can critique and judge their own culture. An important person in revolutionising and evolving morality.” (Regis, M Classroom Notes 2007)

A distinction of course must be made between the rebel and the attention seeker. They may at first appear to be a similar entity, but are in fact poles apart with totally dissimilar agendas. The attention seeker acts as their label would suggest, purely out of a desperation to be seen as an important and needed member of the class. The rebel knows they are an important member of the class and seeks attention to upset the relative level of control that the teacher is currently implementing in the hope of getting others on side to create change. The desired change may be due to the overly authoritarian style of classroom management enforced by the teacher, but may also represent a yearning for more control to be exercised by a facilitator who is modelling an indifferent style of non-directive intervention.

Ford’s Responsible Thinking Process Model speaks volumes with regards to the social justice implications of successful classroom facilitation and I wholeheartedly agree with one of its underlying premises;

“All students have the right to learn and teachers have the right to teach in safety. No-one has the right to disrupt the teaching-learning process, to prevent other students from learning or to violate the rights of others.” (Edwards & Watts 2004)

However, this utopian vision of education, whilst definitely being something to strive for, does not account for the realities of overlapping individual student needs and the true complexity and often reflexive nature of individual facilitation practices. If facilitators fail to cater to the ‘Quality Worlds’ of students and do not accurately and consistently advocate the engagement with and the completion of tasks within the zone of proximal development of their class members, than many individuals needs will not be met and subsequently the rights of both teachers and students will be constantly compromised.

The Pain Model finds itself on the far right end of the classroom management spectrum and rightly so. Attempting to regulate and discipline children who fall within the ‘emotional’ Pain Model is futile. At best, these children require several detailed steps to relieve the unshakeable vulnerability that pervades their existence, with a view to reskilling them in the area of emotional literacy, so that they can become fully functioning members of the classroom; a very one-on-one teacher-student intensive process. At worst, these children are at risk of harming themselves and harming others and often it is best to refer them on to specialised counselling within the school or to an external psychologist if this avenue is not available, whilst they are in or before they can return to the regular classroom.

For a facilitator to provide this level of attention to one student in their class is philosophically in accordance with the social justice principles that have been so avidly taught within the Diploma of Education at Notre Dame and time permitting is the correct and most appropriate strategy in terms of inclusive education for a child of this ilk. However, in practical reality, time management and the equality of learning for all within the classroom must be taken into consideration before one should immerse themselves too deeply into the pain model and in doing so possibly risk minimising the overall success of their classroom teaching. Hence, the use of a third party professional.


At the edges of the provided overview lies a danger in overall teacher effectiveness as to managing the diversity that exists within the classroom. Too far to the right and you have become too student centred. Too far to the left and you have become too teacher focussed. The vast area that resides within these parameters accounts for the complexity of the task and the varied scope of management, leadership and non-directive intervention, that is available to teacher facilitators.

The authoritarian styles as you have said, Allan, should be used sparingly to retain their potency, otherwise one risks disciplining when necessary from ‘an empty tank’. The indifferent styles, too, have their place in the promotion of students working productively and progressively on a task once the teacher has modelled how individuals may go about creating and constructing the required knowledge alone or in groups. It is my goal within my drama classes that all students are heading towards this autonomous decision making and self-regulation.

It is the authoritative, leadership style, however, that must anchor all the schools of thought together if a teacher facilitator is to balance the educational needs within the emotional climate of the classroom.

“We must not forget that our primary business is in educating young minds.” (Dr. Hawkes, T 2007)

If one’s own personal model of classroom management is well synthesised and informed from both a theoretical and experiential standpoint, then a teacher facilitator may, for the most part, practice their craft in an unimpeded fashion in this most important of societal functions.

In short, yes, I agree with the overview that successful classroom teaching and educational philosophies can be organised (and evaluated) according to the amount of control/freedom given to teachers, provided that curriculum and its method of instruction are relevant, stimulating and accessible. In terms of managing the diversity in your classroom, the overview is most comprehensive and only the clichéd ‘there is always an exception to the rule’ stands in the way of this. And finally, no, I do not believe that this overview is implying that you should use different methods of management with different students. I for one am from the authoritative school of thought, but as any teacher facilitator would agree, it certainly does not hurt to have a few tricks up your sleeve.























References

Edwards C.H & Watts V, 2004, Classroom Discipline & Management an Australasian Perspective, John Wiley & Sons Australia Ltd, Qld
Coman, A, 2007, Classroom Notes, University of Notre Dame, Syd
Regis, M, 2007, Classroom Notes, University of Notre Dame, Syd
Dr. Hawkes, T, 2007, Staff Meeting Address, The Kings School, Syd
Cameron J, 1995, The Artists Way, Pan MacMillan Ltd, London
www.calstatela.edu 2007
www.enneagram.com 2007
www.9types.com 2007
http://en.wikepedia.org/wiki/Rudolf_Dreikurs 2007

Assignment One – Adam Moulds

Introduction

In approaching the assignments contained within this unit I have increasingly found myself to be that stereotype of a student; the master of procrastination. I have been reluctant to type a word for weeks despite knowing full well that you, Allan, have been requesting to see the finished documents in either hard copy or blog form for some time. Yes, I have been extremely busy initiating myself into my first full time teaching position and for your understanding I am very appreciative. I hope I too can extend similar courtesies to my students in handing in their work when their individual circumstances are challenging. However, the ridiculous thing about it all is not that I haven’t begun. I have in fact been reading up on the subject and the endless tangents it has taken me on for months now. The real truth of the matter is that I have not known where to begin.

For, if my personal philosophy must be congruent with the way I lead and manage my classroom, I sure as hell better know what my personal philosophy is. And where does one begin or end with this process? ‘If I just watch that one more film… If I just read that one more article…’ was the way I had been approaching what I had begun to see as a gargantuan task. It was not until I came to the realisation, as many if not most already have, that one never fully reaches a definitive belief and value system that I could in fact begin.

Furthermore, I have exceeded the maximum word count rather significantly in the completion of this assignment and I ask that you do not mark me down as a result, but instead see it as a genuine interest in the work and its subsequent benefits to my teaching practices.

And so, embryonic as it may be, here is the first instalment…



1.1 Write a “Code of Conduct” for parents and caregivers who wish to create a positive family environment for their children.

Well, firstly I feel that the term ‘Code of Conduct’ is one that is too harsh. It implies that there is an authoritarian rule within the family unit and that the children should be subservient to this. I prefer the idea that parents are role models, leaders and unconditional, loving guides for their children. That said, I have no children of my own so this slightly utopian vision of parenting could be easily regarded as an opinion that lacks first hand experience.

I have, however, been a member of a family and was raised in an environment like many others whose parents stayed together for the kids. This often created a fairly tense ambience within the home, to say the least, and from this experience I have learnt that parents and, I ask that you excuse the colloquialism, should have really ‘sorted their shit out’ before they embark on marriage and the rearing of children. Or, as Carl Jung more aptly phrases it,

“Nothing has a stronger influence psychologically on their environment and especially on their children than the unlived life of the parent.” (As cited by Julia Cameron, 1995)

As I spoke of in my introduction, parents too need to know their own fundamental philosophy of life before they bring children into this world and start imposing rules upon them based on their own shortcomings or unfulfilled desires. Therefore, in creating something similar to a code of conduct I propose that parents must first evaluate their own conduct and its congruency with a code they will have the responsibility of enforcing upon young members of their family.

Once these concerns are in order I suggest that the creation of a positive family environment be based around the following ideas: love, autonomy, stability, safety and positive affirmation.

Love, as the Beatles so rightly inform us is ‘all you need’.

Autonomy, to help develop a child into an adult and this requires the encouragement of individual, creative problem solving skills as opposed to excessive parental control.

Stability, as the bedrock of any child’s life should be the family home.

Safety, as no child should have to mature in the presence of abusive family members.

And positive, appropriate, directed affirmations to help children grow into happy, healthy human beings.

“Children’s outlook on life depends generally on how successful parents and caregivers are in helping them shift from feeling powerless to feeling confident about themselves… Achieving this image involves developing a sense of control over their lives.” (Edward & Watts, 2004)

In the past week or so I have allocated a small amount of time to each drama class I teach to explore how they wish to create a positive learning environment. In skipping the ‘Code of Conduct’ title for the exercise I went with the ‘Rights and Responsibilities’ idea stolen from the Outdoor Education Program I had just been on with some year 8 students. As you, Allan, implied would happen many of the responses revolved around respect and listening to one another with the consequences of breaking these parameters ranging from the pragmatic and sensible ‘three strikes and you’re out’ rule i.e. exclusion from that day’s classroom activity or detention, to the more comical ‘castration’. The commonalities in each individual’s thoughts were self evident almost immediately and it was not until I came across a book called ‘Strategies for Playbuilding: Helping Groups Translate Issues into Theatre’ that I realised the strength of simplicity. In order to work in harmonious collaboration the author endeavours to,

“…establish an environment of respect, teamwork and commitment.” (Weigler, 2001)

And what could be more appropriate than this as an ethos in creating a positive family environment. Respect for the individual and the whole, pulling together in what should be the greatest team one could ever be a member of and commitment in the parents love for each other which is then exponentially reflected in the love they have for their children.

Weigler et al goes on to offer what I consider to be a superb replacement title for a ‘Code of Conduct’. I believe that the family unit, like artists who open up to each other in realising a theatrical production, requires a more intimate and bonding framework in which to live. For this reason his ‘Promises to one another’ concept I find to be the perfect paradigm in which the ideas of respect, teamwork and commitment may reside.

And although the formulation of consequences would best be left up to a democratic, family ballot system, in the absence of this I will extract them from the ‘mini society’ of my drama classes in a twist of phrase which negates the all important need and desire for autonomy and affirming relationships: ‘three strikes and you’re not allowed out’.




1.2 What are the essential elements for an adequate discipline model?

If I may take the liberty, I choose to answer this question by specifically relating it to the desired environment I wish to create within my drama classrooms and therefore would like to briefly tackle the wording of the question, expressing my dislike for the term ‘adequate’ discipline model. I would prefer the words ‘practical’, ‘efficient’, ‘excellent’ and most importantly ‘sustainable’.

For a discipline model of this nature I believe that the essential elements required are as follows:

One that facilitates preventative and corrective measures and is largely congruent with the school wide discipline model within which it must operate e.g. The King’s School
Is based soundly on well researched theory, be that singular, eclectic, shifting or experientially formulated and is geared towards teacher leadership and empathy for the specific needs of each student
Takes into serious consideration the level of student autonomy and teacher control within the classroom and promotes the growth of the self regulating individual
Is compatible with the primary administrators own belief system, in this case my own;

“…what we desire in students’ behaviour will not materialise until we choose those strategies that are most consistent with our own beliefs in achieving those ends.” (Edwards & Watts, 2004)

Is in allegiance with David Wong’s Theory of Threshold Moral Relativism ensuring there is an equitable distribution of rights and an internal consistency (Meta Regis, 2007) i.e. an overwhelming sense of applied fairness;

“Consistency in the application of consequences is the key factor in classroom management” (Coman classroom notes, 2007)

That it is geared towards nurturing a positive and creative environment that promotes Glasser’s ideas of ‘connecting habits’ such as caring, listening, supporting, encouraging and trusting rather than ‘disconnecting habits’ such as criticising, blaming and nagging (Coman classroom notes, 2007)
And, finally, that it works;

“You can have all these theories, but at the end of the day you have to be able to survive.” (Coman classroom notes, 2007)

Call me a faux passionate, new age, inexperienced facilitator if you must, but I am striving to mould a classroom environment that flourishes with creativity to the point that the discipline model within my lessons is an almost invisible, yet omnipresent force absolved in high levels of student motivation and the desire to be constructively educated in a way that adds quality to ones life and in turn to the community. There is no doubt that an at least ‘adequate’ discipline model is required to begin with if this is to be achieved. However, to ignite the shift which spawns an ‘excellent’ discipline model I believe it is largely up to the teacher and their ability to effectively and organisationally engage their students in invigorating, knowledge creation and application. Once again Julia Cameron et al shapes this idea in what I consider to be a most profound way and in doing so she speaks of order in terms of God as an acronym;

“Good, Orderly Direction.”

Now that is more than just an ‘adequate’ discipline model.




1.3 Critically reflect on the theories of two psychologists and apply their theories to techniques for improving student motivation.

On the basis of two key concepts you mentioned in a tutorial, Allan, and also on a handout given to the Dip Ed students in 2006 by Tony MacArthur am I basing my decision to critically reflect and evaluate the application of the following theories and techniques for improving student motivation:

William Glasser’s ‘Choice Theory, Reality Therapy and Lead Management’ and;
Patrick Connor’s ‘Pain Model’.

From my relatively minimal, but concentrated experience in teaching, I strongly concur with your idea that a sound, relevant and creatively stimulating lesson structure should foster a motivated student majority within the classroom.

“If the lesson structure is good you will have the bulk of the students with you. For the others, classroom management theories such as those developed by William Glasser and (Patrick Connor’s) The Pain Model will help immensely… Of the 25 students you have in the class it will always come down to only four or five students who give you trouble. Of these, three of them just want attention, to be noticed and to be acknowledged. Develop a relationship with these students… In every class now there will be one or two students that fit into the Pain Model. Use experts to help these kids.” (Coman classroom notes, 2007)

My interest in these two areas on student motivation is all driven and balanced by the following,

“A teacher can be firm yet still supportive and friendly with students. A firm teacher can provide an environment where students feel safe and secure.” (MacArthur classroom notes 2006)

These words I feel are vital in catering for the 5% assertion that a ‘teacher’ requires in order that they may carry out the other 95% of their more important role as an ‘educational facilitator’.

According to a recent case study, Glasser too agrees with this notion,

“Glasser, currently, is less concerned with behaviour management than with producing student results.” (Edwards & Watts, 2004)

However, what is really at the heart of all of this is dealing with those students who decide they will not tow the line when it comes to appropriate behaviour in the classroom. These students impede the learning opportunities of others and in turn reduce the productive capacity of the whole class and bring down the collective motivation levels of the individuals within it. Therefore, if we are to produce quality results across the board we as educators must find suitable ways to cater for, deal with and include students with difficult temperaments. It is here that the underpinning concept of Glasser’s Choice Theory comes into play, i.e.

“…the only person’s behaviour I can control is my own. Hence, the teacher focuses on themselves, the relationship with the student and the support being offered to enable quality outcomes.” (Edwards & Watts, 2004)

With the advent of this mode of thinking the ball is really back into the hands of the classroom teacher. Or, as Hattie claims,

“I therefore suggest that we should focus on the greatest source of variance that can make the difference – the teacher.” (Hattie, 2003)

So, in approaching student motivation from this angle the teacher must embrace the concept of a student-centred classroom and curriculum that, “is relevant and adds quality to their lives.” (Edwards & Watts, 2004) And, not only this, but also one that takes into account and indeed shapes itself around theoretical premise of Glasser’s ‘Five Genetic Needs’. I will now discuss these one by one, suggesting the ways in which they present themselves and then assign them their intrinsic practical application within my classroom to increase student motivation.

Survival, safety and security – this often presents itself as the teary and timid student. I have found that the best way to deal with this type of need is to encourage everyone to get involved in the class activities suggesting that the best thing you can do in the drama classroom is get up and make a mistake. Furthermore, I usually go on to say that unless every time you get up in my class to perform you can do it perfectly, then no one is to be judged who gets up and has a go. Also, I like to set up initial exercises within the lesson structure that involve groups and pairs which fosters relationships with other students and spreads the focus of the audience to the various collaborative members.

“Students who don’t feel connected and in relationship with the teacher and the other students do not feel they are in a safe environment in which to create a competency.” (Coman classroom notes, 2007)

Personal power, competency and achievement – usually presents itself as ‘acting out’, tantrums etc. The issue of control is paramount in choice theory. If individuals within my classroom are not achieving a sense of this, they will most definitely begin to impact on the focus of the learning task at hand and distract others. This generally means that I have not set a task which is within their Zone of Proximal Development;

“We need to have a sense of control, mastery and achievement…fulfilling one’s power need appropriately is not ‘power over’ others but ‘power to’ oneself.” (Edwards & Watts, 2004)

It is always vitally important to set a task which falls within this zone or otherwise the more dominating students will immediately begin to steer the other students off task.

Love, belonging and acceptance – this child demonstrates this need in my classroom in two ways, one being the child who constantly needs my attention and the other being the child who constantly needs everyone’s attention. This student I find can be quite a distraction to the progress of an individual lesson and I have learnt that the best way to deal with this need is to chat with them first at the beginning of every lesson to connect them to the feelings of acceptance and belonging for the next 50 minutes. Also, chats and games with them outside the classroom walls generally ensure they will not seek high levels of acceptance during learning time.

“Students need to be told, over and over, that they are loved – not because of what they do, not in spite of what they do, but just for who they are.”

To put it mildly, this is a really big one. However, undoubtedly the best way to satisfy the needs of students in this category is to see that every child has a gift and as you have said, Allan, it is our job to find that gift and affirm that gift.

Freedom, independence and autonomy – “Why are we doing this Sir?” is usually the catch cry of those who feel they are not getting this need met and for this reason every unit, lesson and activity must be relevant to developing a competency that will add to the ‘quality worlds’ of my students. For drama this is usually to develop confidence, understand the human condition and in turn ourselves and work in a team based environment. These are all skills that have practical applications in the world outside the classroom and schooling life.

Fun and Learning – if this need is not being met all I tend to have in my class is a series of lengthy and loud misdirected discussions amongst students. The only way to curb this and to keep the levels of motivation at a premium is to keep it new, fresh and exciting. Furthermore, this need is closely linked with achieving competency, for it is one thing to have fun, but if the learning does not come as a result of this then pointless amusement will be the result and undesired student behaviour will manifest itself.

“…the fun need … is met through enjoyment, learning and a sense of satisfaction. Many experiences can provide pleasure or enjoyment. But if they do not also provide a real sense of satisfaction, then, according to Glasser’s usage, they are not fun.” (Edwards & Watts, 2004)

At the crux of all this need satisfying and catering for is the idea of connecting habits and not disconnecting habits. Every time a student is criticised, judged or blamed they will feel disconnected, one or more of their needs will not be met, they in turn will become despondent and/or disruptive and student motivation levels will go down as a result of a loss of focus. Alternatively, if connecting habits are constantly practiced by the teacher, there is a far greater chance that the majority of student needs will be being met and a ripple of enthusiasm may pervade the ambience of the classroom.

It is here that the issue of ‘Total Behaviour’ should be addressed. Students who are constantly disruptive and therefore are not getting their needs met in appropriate and developmentally beneficial ways need to learn replacement behaviours. If it is true, as Glasser suggests, that we can only control our thinking and the way we act, then students must be led into the understanding that their feelings and physiology could be in a better state if they were to change the way they viewed a situation which the teacher deems to be negative e.g. I have a student in my tutor group who is constantly in trouble with just about every teacher he has. At the same time, however, just about every student thinks he is terrific because he is rebellious and has a disregard for authority. What he fails to see, and what I am currently attempting to assist him in seeing, is that students will soon tire of this and he will discover that he has wasted his time trying to impress others when the best thing he could do is direct his abundant interpersonal energies into developing positive leadership skills.

It is this very leadership which, I too, am to execute if my students are to follow me down the path of motivated, educational satisfaction. And it is for this reason that I subscribe to Glasser’s ideas on lead management as opposed to boss management and in particular the specific aspects mentioned in the following;

“The lead manager constantly tries to fit the learning task to the skills of the students… A productive atmosphere develops because the leader, authentically, does everything possible to provide students not only the best tools with which to learn but also the autonomy to govern themselves in the process.” (Edwards & Watts, 2004)

The previous example in which I elaborated on a student who is meeting his needs in misdirected ways is indicative of Glasser’s most comprehensive and extensive use of choice theory in what he refers to as ‘Reality Therapy’. I have had a number of reality therapy sessions with the aforementioned student and although progress with him has been slow, a relationship of genuine trust and care is beginning to develop and subsequently his behavioural pattern, motivation and quality of work is becoming more and more positive by the day.

The ‘Disruption Encounter’ is the other, less time significant and more preventative cousin of reality therapy and this too is starting to show real benefits in managing my classroom and encouraging the individuals involved to focus on the work and not on diverting attention from it. On average it only takes five minutes away from their friends and a quiet word from me to get them back on track. It is, as you informed me Allan, this small disconnection from their peers that encourages the modern day, relationship driven student to re-engage productively in the classroom activities.

However, it is exactly this modern day student that must be carefully addressed when considering the next theory in this evaluative process, that of the Pain Model. Contained within the ideas of this discipline model are the means and the ‘know how’ in which to handle behaviourally very difficult and high risk students.

In dealing with a student who fits the criteria of the Pain model and attempting to increase their motivation for learning activities the pain itself must first be treated.

“…a person who is experiencing psychological pain is unable to turn their mind to schoolwork and positive interactions until such time as the pain is relieved.” (Edwards & Watts, 2004)

It must be noted here that a child or anyone for that matter who finds themselves in this situation must be treated with the utmost of care and more often than not referred to the school counsellor/psychologist, assuming that this service is in fact available. This core ideology within this course of action is suggestive too of the other underlying principle of the Pain Model; Value the person. Similarly to William Glasser, this theory of Patrick O’Connor’s is highly geared towards nurturing trusting relationships and in this case more so between student and teacher. For this reason, punitive measures must most certainly be eradicated from any dealings with a student in emotional pain.

“…the use of punishment is ineffective. When students’ pain is addressed there is, in practice no need to use other traditional behaviour management strategies because the misbehaviour ceases spontaneously.” (Edwards & Watts, 2004)

I myself experienced this exact same phenomenon when on the outdoor camp with students from my school. The one child who was being relentlessly bullied by the other students and could not verbally or physically fend for himself was at a sheer loss. Once I acknowledged his pain, began to praise him for the things he could do well and initiated the process of establishing a listening and leading style relationship with him his whole outlook started to transform. To this day that boy regularly approaches me in the playground to tell me what he is up to and now, also, to see how I am doing.

The classroom techniques that can be applied by the teacher and from the few that I myself have practiced have proven to be most beneficial are as follows:

· Relieve the pain and calm the student – listening and slower breathing strategies tend to be most effective here.
· Re-skill the student – as a drama teacher the easiest and most conducive to re-motivating the student towards re-engagement with the class is by re-enacting the scene. A quick role play with a theatrically savvy drama student rehearses them into making more beneficial choices as to courses of action in order to deal with difficult circumstances. I have also found whole class meditation sessions to be very beneficial in managing the classroom climate.
· Reconstruct self-esteem – primarily through positive and specifically directed praise have I noticed this technique to reap rewards.
· Use Related Strategies – I used a falling/trust game with my year 9 students which was particularly beneficial to one boy who was in great distress before attempting it as he had been dropped before during this same exercise. Once I assured him that this was not going to be the case this time and he completed the activity he was brimming with satisfaction and has since been a highly active and engaging class member.
· Whole Brain Teaching – On a recent drama excursion I had 24 year 8 students who were highly bored during and extensive waiting period in which they were asked repeatedly to behave themselves as they were in public view. I realised that expecting them to sit quietly for 45 minutes was virtually impossible and as a result elected to teach them how to juggle, a famous whole brain activity. This proved stimulating enough to relieve them of their boredom and engage in a productive task.
· Developing Emotional Intelligence – again in relation to the child on the outdoor camp, I was able to assist him in rationally evaluating his emotions and coming to the realisation that to get all stirred up by the jibes of his peers was exactly what they wanted. What was best for him was to acquire the emotional intelligence to see that ignoring them would see the situation cease, which he began to do as the trip and he both progressed.

Glasser, O’Connor and indeed Hattie all have quite similar philosophical ideas in approaching the issue of student motivation. It is with the words of a New York Times columnist by the name of Thomas Friedman however, that I would like to conclude;

“…imagination matters most of all. The most important competition in the future is not between countries or companies – it is between us and our imaginations.”

And so it is true for motivation. If every lesson is not geared towards the apex of the revised Bloom’s taxonomy i.e. creativity, then all the theories in the world will not be able to engage a classroom of young minds.





References

Edwards C.H & Watts V, 2004, Classroom Discipline & Management an Australasian Perspective, John Wiley & Sons Australia Ltd, Qld
Coman, A, 2007, Classroom Notes, University of Notre Dame, Syd
Friedman, T, 2007, New York Times, NYC
MacArthur T, 2006, Classroom Notes, University of Notre Dame, Syd
Hattie J, 2003, Distinguishing Expert Teachers from Novice and Experienced Teachers, University of Auckland, NZ
Cameron J, 1995, The Artists Way, Pan MacMillan Ltd, London
Weigler W, 2001, Strategies for Playbuilding: Helping Students Translate Issues into Theatre, Heinemann, Portsmouth, NH
Regis M, 2007, Classroom Notes, University of Notre Dame, Syd

Ancient Lands _ Current Connections

We as a western society are totally detached from all that is spiritual and meaningful. We pride ourselves on economic rationalism and technological advancement. Those who have lived the life of the land or are ancestors of those who have done so have a deep connection to all that is spiritual.

Nature/the land is a perfect bridge into this place for many of us. It provides a reflection of what is created without man and has stemmed from the great life source that courses through the universe.

As a teacher, especially of young men, who it must be said are more inclined to pursue the dogmatic social convention of more, more, more, it is imperative that I facilitate in them the consciousness to see outside this paradigm. For to realise the beauty of the spiritual connectedness that one can manifest, is to be a part of the great cosmic mystery.

And as Einstein himself proclaims, it is in this mystery that we can all find pure happiness in the unknown.

“Nature is happiest in the absence of man”.

this is a good link for bullying and using the reality therapy
http://web.ebscohost.com.ipacez.nd.edu.au/ehost/pdf?vid=4&hid=19&sid=c3dc8e6c-11b2-43f3-9241-de309626bb7d%40SRCSM1

Hey Robin.... I miss you.... Love Batman...xoxo

Glasser's 5 Needs

William Glasser, in his 'Control Theory' (later renamed to 'Choice Theory') detailed five needs that are quite close to Maslow's Hierarchy, but with some interesting twists.

1. Survival
This is similar to Maslow's Physiological and Safety level. They are basic needs which are of little interest unless they are threatened.

2. Love and belonging
This is the same as Maslow's Belonging need and recognises how important it is for us as a tribal species to be accepted by our peers.

3. Power or recognition
This maps to some extent to Maslow's Esteem need, although the Power element focuses on our ability to achieve our goals (which is perhaps a lower-level control need).

4. Freedom
This is the ability to do what we want, to have free choice. It is connected with procedural justice where we seek fair play.

5. Fun
An interesting ultimate goal. When all else is satisfied, we just (as Cyndi Lauper sang) 'want to have fun'.

ASSESSMENT

The grading system in Australian Secondary Schools with approximated percentages:

• A (Excellent) - 85% and above
• B (Good) 70-84%
• C (Satisfactory) 50-69%
• D (Needs Improvement 40 -49%
• E (Unsatisfactory) 39.12% and below

The primary aim of assessment is that it uses merit as a selection process instead of favouritism. The western world is one which is heavily centred around the ideology of a meritocracy.

Assessment types:

• Formative (progressive assessment 'for' learning) and Summative (conclusive assessment 'of' learning
• Subjective (more than one way to express the answer) and Objective (one single answer)
• Criterion Referenced (measured against defined criteria) and Norm Referenced (measured against the student body undertaking the assessment - grading the curve)
• Informal (Does not contribute to final grade e.g peer evaluation and feedback) and Formal (given a numerical score or grade e.g test or quiz)

NB - A good assessment has both validity (measures what was intended) and reliability (gives a consistent spread of results). There will often be a trade-off. e.g a performance assessment is hard to score accurately due to its subjective nature, but a multiple choice test on performance technique is easily graded.

Drama assessing is done according to the: making, performing and appreciating criteria

NB - It is important that tasks are weighted properly. Also, do not mark a task too hard or set a task that is too difficult.

Scaling appropriately assigns marks to task weights. It rewards student consistency. The group then get ranked accordingly.

SCOPE AND SEQUENCE

Scope: the time allocated to a topic
Sequence: the order in which topics are taught (Bloom's Taxonomy)
Program/Unit: divided into topics or modules identifies syllabus requirements "Students learn to... Students learn about..."

Teaching/learning strategies resources assessment

THE IDEAL LESSON

Time the lesson down to the minute. Have at least 5 activities per lesson.

The winning formula = 25% teacher input + 25% teacher directed + 25% student centred + 25% student groups.

LESSON PLAN:

1. Get attention
2. Teacher Input - incorporating muliple intelligences
3. Group Work - encourages social interaction
4. Individual Work - enables critical reflection and personal learning
5. Teacher Directed - group work including: an individual/group on stage and feedback