The Blipped Classroom… Or Flended Learning?

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Last year, I had major voice problems. A combination of poor breathing habits and too much coffee resulted in a very strained voice. I couldn’t be more thankful for those voice problems. They really pushed me to reconsider the way I teach. Around the same time, I bought an iPad. I also couldn’t be more thankful for my iPad, because that too helped me find alternative methods of teaching. I stumbled across ShowMe, an iPad screen-casting app. That was the beginning. To avoid delivering content to my students in the lecturing style of teaching, which strained my voice the most, I recorded all of them at home, in a quiet environment that did not require raising my voice. I would them post them to my ShowMe profile, give the students the URL and they would watch it at home. I later came to learn that this was the concept of the ‘flipped classroom’, which is becoming a huge trend now in education. It was funny that I was only driven to that way of teaching to preserve my voice and help it heal!

I also started using blogging with my students around the same time, as it was a ‘quieter’ discussion platform. I relied on the school’s intranet LMS for that. I did not have to conduct the same discussions in class, where I would have to use my voice often to facilitate the discussion. Basically, class-time was used to solve worksheets, for revision and for group projects, where my talking would be limited to one-on-one or to a small group (a much more manageable task when you have voice problems). I also set up a wiki on the school’s intranet LMS for creating revision notes. The students did not really make use of electronic devices in the class, partly because I was still learning about which apps to use and how, and partly because there was no clear policy at the school for BYOD device. Here are some screenshots of what we did in class through the intranet LMS system.

 

 

This changed with the beginning of this academic year in January. Year 7 students were all required to purchase iPads and I was one of the eLearning leaders (because I literally begged my principal to assign me that role). The school had drafted a BYOD policy and I had to help create a framework for using iPads and eLearning/mLearning in the school, and to train teachers through PD sessions so that they too can become more comfortable with the use of such devices. Of course, in my role as an eLearning leader, I was sent out to a lot of conferences and inservice sessions, and my learning was exponential.

I was only teaching drama for the first half of the academic year (as I was employed part-time to allow me to finish my masters). But during the second half of the year, I was asked to step in for two teachers that went on long-service leave, one after the other. I created a blog for my year 9 humanities class, which I primarily used as my teaching notes and a revision resource for them, should they need it. I tried to encourage them to blog more but I only had the class for four weeks and creating that culture of blogging takes much longer. Then I stepped in for a year 8 English class. I used the school’s intranet LMS to create a blog for discussions in the class. I also used the blog to teach them about effective ‘digital citizenship’ and how to create a positive ‘digital footprint’. Now, I am back to only teaching drama again, and I am using my drama subject blog more to document the student learning and to show what we are doing in the class.

Through this journey, I have learnt a lot, and I believe I have found the right mixture of Web 2.0 tools, a mixture that works for me. This is not to say that these tools are the best out there, but they work for me, and this is the main lesson I have learnt: it is all about what works for you and your students, there is no one-size-fits-all formula for using ICT in the class. ‘Flipped classrooms‘ and ‘blended learning‘ sound like very fancy terms, but at the end of the day, the teacher is the main driver behind student learning and student success. I do believe in the importance of blended learning, as we need to prepare students to become effective digital citizens and to possess the necessary ICT-literacies that are in very high demand in the modern workplace. I also believe that flipping the classroom has its merits: most of the lecturing can be done at home where students work at their own pace, and this frees up class time for doing the nitty-gritty learning stuff!

So, here is my Web 2.0 and ICT classroom framework, which I believe combines the two concepts (others are definitely allowed to disagree, in fact I would appreciate all feedback and suggestions for improvement):

  1. A class Edmodo page: this is the central LMS system. This is where I would post content: worksheets, videos, quizzes, polls, hyperlinks etc… This is also where I would make announcements, and maybe start discussions about class-related material. I love Edmodo because of its quizzing, polling and library tools, and because I love social networking!
  2. A class blog: possibly using the school’s intranet LMS as the class’ central portal for blogging. The advantage is that it is all internal, however our intranet LMS can be quite limiting. Additionally, students can not really author their own blogs on our school’s intranet LMS, but rather only respond to posts from the teacher. This class blog will be used to facilitate discussions and to coach students in the practices of effective digital citizens.
  3. Student blogs: Additionally, I might set up one blog per group of students (4-5 students in each group) using a school-provided google account. The students would alternate posting and commenting roles throughout the semester (maybe inform them that you expect them to post TWICE during the term and comment on at least FIVE different posts, for example).
  4. A class wiki: this could be set up using the intranet LMS and could be used to create revision notes or a class textbook, or a collection of resources about the topics studied in class. The students can create and embed material using VoiceThreads and screen-casting tools, so that the wiki consists of a variety of multimedia tools to cater for their different learning styles.
  5. Combining Google Forms with screen-casting: this can be used for formative assessment of student understanding. I could create a screencast every week for the theoretical material that needs to be covered, and embed it in the class blog, along with an embedded/hyperlinked Google Form to measure student learning. I rely mostly on my iPad to create screencasts, using apps such as ShowMe or ExplainEverything. I have used Google Forms more than once already, and I love this tool. I have used it to collect feedback on a unit of work from students, I have used it to facilitate peer evaluations in my drama classes and I have used it as a worksheet to help in defining slapstick comedy. I can see many more ways of using it and there are lots of ideas out there.
  6. Using Google Docs: in the event of having to submit an essay or a powerpoint presentation (which is required in a lot of Common Assessment Tasks at school), I prefer requesting that the students use Google Docs. The advantage of doing so is that I can be granted access to the document while it is being created and can be involved in the whole process, which can then be assessed, as opposed to assessing only the final product (a submitted essay or powerpoint presentation). Students can also share their documents with a classmate while they are working on it, and this is to make use of peer feedback. Google Docs also encourages collaborative learning, which I am a very big fan of.

To conclude, I believe this framework doesn’t really fully flip the classroom, and it also makes use of blended learning. So I am going to combine the two concepts in one term, which should it be: FLENDED LEARNING or BLIPPED CLASSROOM?

To reward or to punish?

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For someone who has had the pleasure of teaching a wide variety of subjects (namely: economics, business studies, statistics, humanities, English/ESL and Drama), I believe classroom management in a drama classroom is a bigger challenge than the others. Firstly, the environment is a lot more open and students are not seated on desks and chairs, which can be an intimidating factor for a lot of teachers. Secondly, drama activities and processes are often noisy and require teachers that are comfortable with noisy classrooms and know how to handle them. Thirdly, drama activities often push students to a level of self-awareness that they do not experience often and this can make a lot of them uncomfortable, which often translates in them playing up in an attempt to hide their self-consciousness.

An added challenge for me is the fact that drama is only timetabled as one double-period for every class per week, and we are expected to assess every criterion at least twice during a semester. When the teacher factors in the periods that will be lost due to excursions or public holidays or school events, or even absences, in the end you are left with approximately 16 double-periods per class per semester (each double-period is about 90 minutes long). Also, assessments should be carried out prior to writing reports which is during the sixth and seventh weeks of the term. Therefore, I often feel like I am racing to teach the content and skills, get the students to practice and apply those skills enough times, and then assess the drama process, and classroom management can often slow that down drastically and makes it more challenging.

Over my teaching experience, I have come to learn, adapt and create a number of classroom rules and procedures to make classroom- (and behavior-) management more ‘manageable’. I have learned to keep the rules simple and easy to remember. I have read that rules should be no more than five. I have come to know that rules should tell students what to do as opposed to what not to do, so instead of saying ‘don’t hit, kick or punch other classmates’, apparently it’s better to say ‘keep hands and feet to yourself’. I took every bit of advice I came across and I tried to adapt it in my classroom. I can say I am pleased with my ability to manage my classroom now, however, it still is a challenge that never ends.

For me, one of the most challenging aspects of classroom management is what behaviors to reward, when and how, and what behaviors to punish, when and how. In a class of 25 students, it is hard to keep track of positive and negative behaviors and to respond to every one of them. Of course, as humans, we tend to notice negative behaviors more than we do the positive ones, so teachers must be conscious and careful of that tendency. I have come to devise a few positive consequences for good behavior, and negative consequences for bad behavior.

Positive consequences for good behavior

1- Verbal Praise: simple, kind words of recognition for a student’s work or behavior go a very long way.
2- Using the Whiteboard: I have found that writing a list of students who are ‘on-task’ or ‘appear to be working well’ on the whiteboard can accomplish a lot. Students notice when others receive this recognition and try to imitate their behavior in order to get their names written up on the whiteboard. I also occasionally review and revise this list throughout the lesson to add more students or remove students who may have started to get distracted or off-task.
3- Merit Points: since I teach middle schoolers now, this system seems to work very well. I always inform my students what sort of behaviors will warrant a merit point at the end of the lesson, and tell them that they will be assigned during the last couple of minutes before the bell.
4- Merit Certificates: I try to keep a track of the upcoming year-level assemblies and prepare some merit certificates for the best students, usually they are the ones that have gathered the most merit points in the classes. These certificates are signed by the year-level coordinator and so that adds more recognition to them.
5- Stickers: sounds cliche, but yes it still works! I had my year 10s begging me for stickers last year.

I generally do not like to give material prizes like candy or stationary because I believe in intrinsic motivation, and I aim to build that in my students. Also, there are so many food allergies now, so one has to be very careful about any food brought into the classroom.

Negative consequences to correct certain behaviors

Behavior regulation chart: I have a poster chart on the whiteboard with six columns: name, warning, time-out, behavior-reflection form, behavior-checklist sent home, detention. It looks something like this:

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This chart is printed, laminated and hung up on the whiteboard top-right corner. The students are taught early on, and constantly reminded of, what sort of behaviors are acceptable and what sort of behaviors are not. The teacher can just write the name of the student and then tick the appropriate column. It’s best to start with a warning, and quietly inform the student what behavior you are warning against (make it short and simple, and so as not to embarrass the student, do it quietly between you two only). If the student does not self-correct, you can then choose the most appropriate consequence depending on the behavior. It’s very important to practice consistency: if talking-out-of-turn warrants a warning followed by a behavior reflection survey, then stick to it with all other students. This can be quite challenging as you will have some days where you might be more anxious or tense, but always try to be consistent and fair.

It is also very important to always have a quiet one-on-one chat with the student at a time when his/her peers are not around, where you can question the student to probe the reasons behind him/her choosing to behave that way. Keep this chat friendly but firm, and do not let it turn into an interrogation. You want the student to know that you have nothing against them personally, but it’s rather their behavior that you want to change or correct.

The behavior-reflection form was an idea I got from lauracandler.com and it looks like this:

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Not all incidents will require getting a parent’s signature. When I need a parent’s signature (which is usually the next step if the behavior continues) I often send home a behavior-checklist that looks like this:

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I still haven’t decided what is the best way to use this behavior regulation chart, is it best to make it progressive, where students take a step up the punishment ladder every time the behavior continues? Or can I reserve the right to choose the consequence to my judgment (after giving the warning of-course)? Richard Curwin wrote a very nice article about how the progressive system isn’t always fair.

What other positive and negative consequences do you use with your classes to reinforce positive behavior and correct negative behavior? What strategies do you use to stay consistent with your classes and to manage their behaviors?

Student self-assessment: capitalizing on its benefits?

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Assessment is a recurring theme in my blogging. I think that is because it was my biggest challenge when I started teaching. I wrote before how I thought that teacher-training programs do not prepare us sufficiently for our role as assessors as they do for our role as teachers. This blogpost will focus more on self-assessment and how I came to use it in my classroom. I am now a lot more comfortable with my use of student self-assessment in class, but it didn’t start as such. I would also like to invite other educators to comment and suggest other ways to fully capitalize on the benefits of student self-assessment.

The context is a unit of work on improvisational theatre for my year 7 drama classes. I always post the main content on the board for every lesson (imagine writing this four times a week for about six weeks!). Below is a copy of the whiteboard with the main learning material posted on it. Basically it is a simplified list of the features of the best improvisations and what the best improvisers do. We refer constantly to those two lists when the students give each other feedback on their performances, and when the students assess and evaluate their own performances.

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After having practiced improvisational skills for about five or six weeks through playing various improv games and theatresports, the students are given this task sheet that will be used to assess Criterion B (Application). They are told that this MYP Arts criterion is used to assess ideas, skills, techniques and processes. The students are then given a prompt for their improvisation, and the performances are filmed. After all performances, the students watch the video of their improvisations and then use the checklist in the task sheet to assess their performance.

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The last step required of the student is to use the self-assessment column in the rubric below to give themselves a mark out of 10 for Criterion B (Application).

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Last year, this process was already in place for me. However, I didn’t really know what the next step should be. I didn’t know how to fully bridge the gap between the student’s self-assessment and my own teacher’s assessment of their work. I did a lot of reading and professional learning on assessment, and I finally came across a fantastic alternative assessment tool: conferencing with the students. It seems very common-sensical, but in actual fact it wasn’t for me.

What I learned to do after the students use the checklist and the rubric to assess their work, is to conference with each one of them. I use this 2-3 minute chat (which I build into class-time), to probe further reflection. I ask questions such as: “Why did you give yourself this mark? What suggestions for improvement do you have for yourself?”. I also constantly remind them to refer to the guidelines for successful improvisations/improvisers written on the whiteboard for their oral reflection during the conferencing. Students are often (though not always) quite capable of evaluating their own work and formulating their own feedback for improvement. Of course, you will come across the students that under-assess themselves and those that over-assess themselves. I always remind the ones that under-assess their work that they are being too hard on themselves and focus on highlighting the positive aspects of their work. I also probe further reflection from those that over-assess themselves and ask them to see how they can improve. Using their performance, checklist, rubric self-assessment and the conference, I finally arrive at my own teacher-assessment, which I add to their rubric in the teacher assessment column, reminding them to use this discussion in the conference as their feedback for improvement.

I am now much more comfortable with the way I administer the task and assess the students, and with the way I allow students to assess themselves and evaluate their own work. However, I believe there is always room for improvement. I would like to invite teachers and educators to share their thoughts, views and suggestions.

To drama or not to drama?

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Drama is a very powerful learning tool. There is lots of academic research in education to back this statement up. I will not be presenting arguments to back it up in this post. What I will be discussing is how I made use of drama, as a learning tool, in the other subjects that I teach (other than drama).

I have always been passionate about theatre and drama. But one thing frustrated me: a lot of the theatre programs I participated in, whether as a teacher or a student, were more focused on the show than on the learning experience for the participants. My passion for drama was a lot more educational than it was artistic. Maybe that is why I did not really feel that a career in theatre is what I wanted (and I did experiment with that path for a short period of time).

Also, I wasn’t just satisfied with a career as a drama teacher. I wanted to bring the educational benefits of drama into other subject areas. I wanted to find ways of integrating drama more into other curricula. I set out on a quest to find out how, and I experimented with a lot of tools. This is a post I wrote to share my experiences.

Firstly, there are a lot of theatre or drama conventions/strategies that drama teachers generally use with their students to help them analyze text to build character and to understand motivations and objectives. My first experiment with taking these tools outside the drama classroom was with conscience alley in my year 10 humanities class in 2011. This technique or convention requires students to form two lines facing each other (i.e. an alley) and one student plays a character facing a dilemma or a difficult decision. The student-in-role then walks through that alley, whilst being bombarded with advice and conflicting arguments. I used this technique to explore the motivations the Muslims may have had for invading Spain in the Middle Ages. One student stepped into the role of the Caliph at the time, while the dilemma was ‘to invade Spain or not to invade Spain’. The students had to quickly read through the text and come up with arguments for and arguments against invading and bombard the Caliph with their arguments as he/she walked through the alley. This activity was then used as a basis for a reflective journal entry in which students had to weigh up the arguments and solve the dilemma. The students thoroughly enjoyed the activity and were very engaged, and I believe the activity improved their arguments in the journal entry. They even requested more similar activities being brought into the humanities classroom.

Later on, I experimented with hot-seating, where a student would step into the role of one of the historical figures studied, and be interviewed by the class in a sort-of press-conference-setting. This activity requires the students to have some good background information about the historical figures, but also there is a lot of room for creativity and just having fun with improvisations. Mantle-of-the-expert was yet another drama strategy that I used in the same unit of work about the ‘Islamic History of Spain’. The students studied the achievements of the Islamic world during the Golden Age of Islam, and so some students were assigned the role of a panel of experts from the various fields of achievements (astronomy, mathematics, geography, agriculture, poetry etc…). The class would then interview that panel of ‘experts’ about their contributions to the Golden Age of Islam.

This year, I used thought-tracking to explore the thoughts and feelings certain characters may be having during certain parts in a novel studied in my year 8 English classroom. A student would be asked to step in role and voice the thoughts and feelings of the assigned character at a certain stage in the novel. I also made use of the other drama strategies mentioned earlier, and I noticed a much higher level of engagement from the students and deeper reflections when these activities were used as a stimulus for journal-writing.

Earlier this year I designed an assessment framework (as part of my masters) that relies wholly on drama strategies as a stimulus for speaking and writing, and to assess reading and listening. This was when I came across this fantastic resource: Joe Winston’s book ‘Second Language Learning Through Drama’. I would highly recommend it for any teacher interested in integrating drama more into their classroom, even if they do not teach drama. I also found the Swansea Grid for Learning literacy resources to be very useful, especially this leaflet.

The advantages I observed of using drama as a learning tool in the classroom are:

  • Engagement: I noticed students were a lot more engaged and interested in the material studied, even if they did not necessarily want to participate in the drama activity, they were still keen to watch their classmates perform.
  • Kinaesthetic learning: these drama strategies require a lot of movement and can appeal more to students that get restless when sitting down and writing for too long.
  • Great stimulus or prompt for a writing task: as it allowed students to dig deeper into the text and actually step into the role of the characters or historical figures, which improved their understanding. This was in turn reflected in their writing.
  • A practical and authentic formative assessment tool: to see whether or not the class have understood the content or the text.

However, there are challenges that teachers should be aware of:

  • Not all students will be keen to participate at first: of course, not everyone likes to perform because they may be shy or self-conscious. I found that slowing introducing these activities and encouraging students to try their best eventually led to full participation. I told my students that trying something new for the first time is the hardest, like riding a bike for the first time, but the more you do it, the more confident you become at it.
  • It will often get noisier: I noticed that students get very excited when I apply these strategies in class and this can led to them being noisier. Moreover, the strategies themselves do encourage a lot of talking. Just relax at first and understand that while they are noisy, it does not mean they are not learning. Just be clear about your expectations and set up an easy class signal to get back their attention.
  • These activities are not a panacea: they are engaging strategies that can be added to a big repertoire of other teaching activities. Naturally, a teacher should have many diverse tools and tricks in their teaching arsenal to appeal to all learning styles, and ensure that everyone is learning.

I hope this reflection on my experiences with drama outside the drama classroom was helpful and that you may take at least one thing out of it. Now, it’s your decision: To Drama or Not to Drama? Maybe set up a conscience alley to help you decide 😉

My MYP Drama Assessment Framework

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When I started teaching MYP Performing Arts (Drama), I had very little to work with. The school had no drama curriculum in place, as it was never previously taught. The library was very under-resourced. The staff only thought of drama as a big school production, not as a subject with specific skills that can be taught, practiced and assessed.

I struggled to gather the necessary resources, and to set up a curriculum using the MYP Unit Planner (as a template for my units of work) and the MYP Arts Guide. My biggest struggle, however, was building an assessment framework that was efficient to administer, practical, valid, authentic and reliable. Before going on to describe my assessment framework, after several trials of refining, I will first explain the challenges I face at my workplace:

  • Performing Arts is only timetabled as one double-period per class per week (compared to six periods for English, for instance). Since a term is about ten weeks, I end up seeing each class an average of seven to eight times a term, when you factor in the lessons cancelled due to excursions, incursions, school-events, sports-events etc… I teach each class for a semester (two terms), and I have two units of work (one unit of work per term).
  • Performing Arts is timetabled as a compulsory subject for years 6, 7 and 8. This means that I will get a lot of students who don’t want to be there, either because they’re shy/self-conscious or they don’t care much for the arts, or both.
  • Most students come from families that also do not appreciate the arts due to cultural or religious reasons. For this reason, many students show indifference towards the marks they earn in the subject, and those that excel are not often recognized for it by their parents.

This assessment framework is a product of many trails and errors, and there is always room for improvement and feedback.

Assessment Criterion A: Knowledge & Understanding

This criterion was often hard for me to assess because I did not want to allocate too many double-periods for theoretical work. I tried worksheets with comprehension questions to accompany a PowerPoint presentation, but that was very disengaging for the students (not to mention very boring for me as a teacher). Additionally, I came to realize that it’s not a very reliable way of assessing understanding, because it just encouraged copying the answers directly from the PowerPoint.

Then, a very helpful friend of mine suggested that I should get the students to talk about what they learned, as that is a more reliable measure. So, I decided to photocopy some handouts from books, and design an oral presentation task where the students read the information, summarize it (guided by questions), supplement it with additional research, and then teach it to the rest of the class through an oral presentation.

This task is more practical to administer as it does not involve collecting worksheets and marking them, which is time-consuming, and also because it allows the students to talk about what they learned which is a more reliable measure of their understanding. I also give the students some basic information to help them answer the questions, while allowing the ones who want to excel the opportunity to research for additional information. Each student is also assessed individually as they are presenting. This whole assessment process can be started and finished in the same double-period, or over two double-periods if students want more time to research.

Below are sample tasks used to assess knowledge and understanding in a unit of work on Improvisational Theatre. These tasks assess the first two strands of the criterion, which require students to “demonstrate knowledge and understanding of the art form studied… and elements of the art form studied”. The last strand of Criterion A, which requires the students to “communicate a critical understanding of the art form studied…”, is assessed through asking students to evaluate a peer’s performance and express an opinion on it using this form: Peer evaluation

Criterion A sample task #1 and sample task #2 used to assess first two strands. Below is a screen-cast describing one task and how it is administered.

Criterion B: Application

The buzzwords I use with my students to explain this criterion are: ideas, skills, techniques, and processes. Therefore, the tasks I create to assess this criterion have to flesh out these four elements. Additionally, I often assess this criterion summatively, at the end of a unit of work, while I use the other criteria for my formative assessment. This is because it allows the students a whole term to demonstrate knowledge and understanding of the art form; practice the skills, techniques and processes involved in the unit of work; and reflect on and evaluate their work before I finally assess their application of those skills, techniques and processes.

Below is a sample task I use to assess Criterion B (Application) in a unit of work on Improvisational Theatre. The students are given the task sheet, told that they will be organized into groups and given a prompt. A visual timer is then used to give the students a minute to quickly discuss/prepare their performance based on the prompt (as they are aware that an improvisation is unscripted and unrehearsed). During this preparation phase, I will jot down some notes to see if they’re applying the correct processes and techniques involved (such as using the CROW [Characters, Relationships, Objective and When/Where] framework to prepare their performance). The students then perform their improvisation, and video footage is taken of their performance to help them in the self-assessment/self-evaluation that follows. After their performance, the audience members are asked to ‘play director’ by giving positive comments or useful suggestions for future performances, and the performers are given a chance to respond to the feedback received. After all groups have performed their improvisation, the performances are projected on the screen to allow the students the chance to self-assess their artwork. Lastly, the students are called up to the teacher one-by-one to conference with the teacher, discuss their self-assessment and their goals for improvement and to receive the teacher’s assessment on their rubric based on their application of the skills, techniques, and processes taught in the unit of work. This whole assessment process can be started and finished in the same double-period.

Criterion B sample task. Below is a screencast describing the task and how it is administered.

Criterion C: Reflection & Evaluation

I previously published a post about ongoing student reflection, which described how reflection plays a very important role is my classroom, and is an ongoing continuous process. Therefore, I will not dwell too much on this criterion. The students in my classroom are constantly being asked to reflect and evaluate, either orally or in written form. This is done in the form of a debriefing after every warm-up exercise and every performance (oral reflection), allowing the students to respond to feedback after their performance (oral reflection), and asking students to write a FOUR-SENTENCE reflection at the end of every lesson using this Reflection help-sheet (adapted from The Black Box).

I do not necessarily grade or mark all these oral reflections or every four-sentence reflection, sometimes it is enough to just leave my initials on the reflection or ask questions to probe more reflection. However, after having practiced reflection and evaluation in the drama classroom for a few weeks, I assign the students a performance task, telling them that I will not assess the actual performance but rather the reflection and evaluation written after it. The students perform while being filmed using a camera (iPad), then their performance is projected to help them reflect on and evaluate their own artwork using this task sheet: Criterion C sample task. Occasionally, and for formative purposes, the students can be asked to use this self-evaluation to evaluate their performance as well. Therefore, there are several pieces of evidence of ongoing student reflection to add to their drama portfolio.

Here is a screencast explaining the task and how it is administered (the task is administered and assessed in one whole double-period):

Criterion D: Personal Engagement

I rely mostly on my observations, anecdotes as well as student self-assessment checklists to assess this criterion. The students are told at the beginning of the term that I will observe and collect anecdotal notes about their ability to work with peers (group co-operation), their audience etiquette (audience skills), their commitment to class activities, their levels of self-confidence (or willingness to perform), their appreciation of the artworks presented in class, as well as how neat, complete and well-organized their drama portfolio is. Below are some student self-evaluations for some of these attitudes:

Criterion D: group-work self-evaluation (adapted from TeacherVision) and audience skills self-evaluation

To conclude, I believe my assessment framework has several advantages: it is efficient and practical to administer, it is easier to explain to the students as one criterion is assessed at a time, each assessment task can be run throughout a whole double-period which means it is not interrupted by student absences, it allows student self-assessment for every criterion which encourages reflection, and it leaves the students with plenty of evidence to add to their drama portfolio to show their progress in learning to think and feel like an artist.

Please feel free to leave comments, suggestions for improvement or feedback.