Embedding Analytical Content in a Narrative Frame

A quick vignette! ​

A few minutes ago I noticed my colleague Ben Bridges sitting with some new Year 12 students just near our preschool. Fittingly, he appeared to be reading from a children's storybook. Intriguingly, the students appeared rapt. ​

The book, it turns out, embeds an exploration of complex numbers into a story.​ I googled it and found it exists in digital form here.

Our minds are hardwired to fit experiences and concepts into a narrative frame. ​I hadn't really understood this, or considered what this might mean for how we relate to abstract analytic thought and the manipulation of symbols, rules, etc, until I heard Jason Ohler talk about 'packaging analytic content in a narrative frame'. 

Apart from that, this seemed to me to be an excellent example of a 'Campfire'​ configuration working really well.​

The notion of a 'Campfire' is that of a special occasion: gathering together to hear a guru deliver words of wisdom. It is a configuration that is often stripped of its magic (rows of desks facing the tyrannic front of the classroom) and done to death. That doesn't mean it has no place. Apart from anything else it is a ritual that nurtures a sense of shared journey - perfect for establishing a community of practice. It goes without saying the guru is not necessarily the employed teacher.

Virtual campfires, delivered via TED.com or YouTube at the learner's convenience, will never provide a true replacement for the face to face version. For all our software upgrades, our hardware hasn't changed a bit.

Read more on Caves, Campfires and Watering Holes here.​

Student Self-Direction: A Case Study of My Yr 8 French Class

In a previous post I brain-dumped a description of a model that I called  "Landscape/Frame/Gateway".

If anyone can think of a more catchy name, I'm all ears.​

I want to give a detailed example of it in this post, specifically a 12-week Year 8 French unit that I teach, along with two colleagues. In the process we'll look at everything from Moodle, to Edmodo, to game-mechanics and badges, to the psychology of freedom and agency in the context of a subject that relies heavily, ultimately, on mastery of some very specific content (aka you can't learn Italian verb conjugations and expect to speak French at the end). 

In the process I hope to show how student agency can be radically heightened even while navigating specific content.​

I'll finish with footage showing a very typical scene of it all at work. Scroll to the bottom of the page if you want to sticky beak and read the last page first!

The unit of work is built around a project to perform the 'The Three Little Pigs' play in French. The core program is based on the 'AIM' approach which involves gestures associated with every French word. These gestures become a kinaesthetic scaffold and prompt to the students.

#1 The Learning Landscape: is the raw resources, instructions, activities, challenges, indeed learning experiences in the broadest possible sense that are 'on offer' to the students.

Here are some observations on the 'learning landscape':​

• ​Learning management systems such as Moodle tend to become resource repositories. These build and build into a dreadful 'scroll of death'​ (see right)
• What you put INTO ​the learning landscape is another question altogether! In this case we have a broad mix of videos, PDFs, vocab lists, spelling challenges, right through to open ended challenges such as 'record a rap song' or 'write your own script'.​
• ​the learning landscape can, by all means, include blank slates for students to define their own challenges. ​

Our students NEVER​ SEE the learning landscape in this awful SCROLL OF DEATH format. All they see on the Moodle page is...

#2 The Frame

Next I created a jpeg graphic that establishes a visual metaphor that will map through to the elements in the learning landscape. I created this one using the 'Paper' app on my iPad. I am appalling bad with visuals. ​

​Then I took the jpeg file and used http://www.image-maps.com/ to create hotspots on it, linking through to the URLs of the resources and activities on the learning landscape (see #1).

Here is the visual:

Some comments:

• this operates a little like a board game. It is visual map or metaphor representing the unit.
• consider how computer games give freedom of movement, but which ever direction you head there is a challenge to complete - this is what I'm trying to achieve with the visual.​
• I can communicate all kinds of intuitive messages using the visual, such as: A# the unit is founded on the performing of the play (the 4 visuals at the bottom, #1, #2, #3, #4),  B# each tree tends to focus on a skill, e.g. getting familiar with the play, speaking French, writing, high level writing, dictionary skills. C# implicitly, climbing up a tree is difficult but inherently rewarding for the view you get up the top (climb every mountain  etc, i.e. I am invoking a progress narrative), D# there is also an implicit left to right narrative of progress.

​Each of the trees has about 4 or 5 squares on it. 

Here are a couple of examples of what students see if they click on a square:​

Oh I need to do some more dot points. Here we go:

• Notice ​I have relinquished any sense of "Okay it's Monday so this is what we're all doing"... the kids can roam freely over the learning landscape, different students engaging in different challenges. Apart from anything else this structure allows differentiation according to mood! (or weather... say a student is hot and bothered, or it's windy and they're all bouncing of the walls) Let along ability, learning preferences, etc.
• ​AND YET freedom of movement is not absolute. It's not LORD OF THE FLIES. I haven't said "JUST GOOGLE FRENCH AND GET GOING"... I have sequenced challenges together - they can choose any tree but must start from the bottom and work their way up. (In fact I never said this to them and wouldn't INSIST but there is a general structure that I deliberately built into it)
• NOTHING is stopping me from saying, one day: right everyone, drop everything, we're doing theatre sports! ​​

#3 ​ The Gateway

How do we sign off on mandated syllabus outcomes? Well, we make some activities compulsory. In this unit, we informally ensure all students complete the bottom rung of all trees, no matter what they then specialise in. Also, if the students click on the graphic at the top-right, it takes them to their formal assessment task, that every student must complete at some point in the unit.

​You can perhaps see why I refer to all this as giving 'structured freedom'. 

#4 Tracking System

We all want to know how we're going.​

"How am I going here?" I often wonder, about life in general, or even tiny projects. All kinds of questions are bundled up into this. What is success? How would I recognise it if I achieved it?

I call this 'narrative', and it is profoundly hardwired into our thinking. (There are also GOODIES and BADDIES ​also hardwired into our thinking, which is not insightful at all, but that is beyond the scope of this post!)

​The broader answer to the students' question 'how am I going in French?' is complex and comes back to the student in all kinds of ways: ongoing informal feedback from me, interactions in the student 'community of practice', (which, by the way, is extremely active since there is so much freedom of movement through physical space, virtual space, and the curriculum itself), formal feedback via the formal assessment task, and other ways too.

BUT! In addition to these complex feedback mechanisms, everyone loves to tick a box! ​

So, we give every student a folder with a colour print-out of the graphic on it.

They get a stamp for each challenge as they go:​

Now, for the love of all small furry creatures, this is not intended to be a primary extrinsic reward system! I am WELL AWARE of the potential for extrinsic reward mechanisms to wreck intrinsic love of learning. My wife is doing her Masters thesis on this very topic. It is not as easy as extrinsic = bad, intrinsic = good. In fact, it's very hard to define the difference between intrinsic and extrinsic motivation. Motivation is a big fat messy tangle!

I call this sort of logistical system a 'tracking system'.​ Notice how grittily logistical it is! Printouts, folders, stamps: this is the technology that allows me to track 28 different learning programs for 28 different students. You said you wanted DIFFERENTIATION?!

I am constantly seeing how the students are going, redirecting them to appropriate challenges, and getting them to demonstrate mastery to me before stamping their graphics.​ In among the bits of paper is a very human coaching process.

​#5 Badges with Edmodo

If you're already cross with me, you won't like this!​

I defined 24 different badges, based on different combinations of learning landscape completions:​

This graphic appears on the French Moodle page. I made it with Snag It. As the students move their cursor over each badge you can see a pop-up explanation appears. If they actually click on the badge they get taken to another graphic showing what they need to do to qualify for that badge:​

​Now, although it is compulsory for students to keep track of what challenges they have and haven't completed, by coming to me and getting a stamp on their hardcopy graphic print-out, the badge system is optional.

Students can engage with the badge system as much or as little as they wish, and indeed some students engage enthusiastically, and some largely ignore it.

The system has allowed me to completely short-circuit the awful pecking order​ that develops by this time of year, as the students notice how they are performing compared to the rest of the class and begin to internalise toxic judgments such as 'I'm not good at French'.

#6 The Crazy Charlie Badge​

​​One way I have been able to exploit the badge system is via the Crazy Charlie Badge, which is actually 4 different badges linked in a 'level up' arrangement.

You see, I regularly run 'gesture sessions' - which are basically teacher-lead vocabulary reviews. Here is one in action:​

For every session students attend, they get a stamp up in the clouds part of the unit graphic (above the trees). As they attend 5, 10, 15 and 20 of these sessions they 'level up' their Crazy Charlie badges, from Elementary Crazy Charlie, through to Elite Crazy Charlie.​

Whichever way students like to learn, they can get rewarded for it. 

​It is crucially important that I allow students not to play the game​, so to speak. No one likes to be trapped within a system. 

So, students who thrive on more face to face interaction with the teacher are rewarded for it. Those who ​do just as well working off a video recording are free to spend their time that way.

​#7 Teacher Talk and the Role of the Guru

Right, this is FRENCH. Essentially the students are supposed to be learning to communicate in a new language here. There is only one person in the room who already speaks French and that's me!

This whole model does not deactivate the guru.​

Rather it hyperactivates the guru. It liberates me to leverage my expertise, time and energy in more effective and powerful ways: to just the right place​​ at just the right time. 

This is what teacher-talk looks like for me:​

• getting in amongst the students and offering individualised guidance and input
• being on hand and available just when needed​
• running 'opt-in' sessions with small groups of students. I am constantly running these and get a variety of participants depending on where we are in the unit, the mood of the day, etc​
• running compulsory sessions (especially for speaking/listening & conversation challenges) but running them 4 or 5 times over a week and telling the students they must attend at least 1. (of course the kids could come back for a repeat if they feel they need it!!)​
• ​and yes, forcing every student to drop everything and all participate in compulsory whole-class activities. This is the closest we get to looking like a traditional teacher-centric class. Because it isn't a dish served up constantly, the students really like it. I'll run a theatre sports session, or similar, and these feel like special events or a rite of passage. 

There is still very much a place for teacher-directed input. It's really a matter of context. ​

Finally, note that every student is having a high quality interaction with me at worst every couple of lessons. When I say high quality I mean an authentic learning-conversation of some kind. This couldn't happen if I was out the front all the time, or putting all my energy into getting the students to do what they're 'supposed to' (and inevitably ensuing conflict. 

#8 Building Student Capacity to Self-Direct​

If students have been going to school ​for, say, the last 8 years, and the script is: come in, sit down, and look to the teacher for direction, then you might get some feral behaviour the first time you back off and put students in the drivers seat. There may even be some tantrums. 

At my school we've worked hard for some years to build a capacity for self-directed learning in the students. Frankly, this has mostly been a detox process. Students know how to self-direct: they do it from 3pm to 9am weekdays, and on the weekends and public holidays. And school holidays. 

So we detox them from the pacifying scripts. We teach them how to make differential choices based on feedback coming in to them from the teacher, the environment (physical and virtual), their community-of-practice (e.g. peers), and their own emotional and cognitive states and preferences.​

No one asks whether a toddler is able to direct their own learning. 

You stick a toddler in a space and let their curiosity drive them. ​

Note that you don't stick a toddler in the middle of a desert and let their curiosity drive them. 

There's nothing to explore! Instead, you curate an environment for them that is rich in opportunities to learn.  Hence all my mucking around with Moodle!​

​#9 A Vision of What a Human Being Is

There is something profound at stake here. What is our vision of the young person and their relationship with the universe? Is not the universe a fascinating place to be? Oh the places you'll go!

​Can we not then trust the engine of inherent curiosity and desire to learn? ​

So then we have to relinquish control!  ​

#9 The Final Product

To finish with, here is some video footage of my students on the job! ​

There is so much I want to say about it. It's so much about freedom of movement: through the curriculum, yes, but also through physical space, virtual space. Freedom to be social. Freedom to appropriate tools​-at-hand (e.g. using a cupboard for a puppet show, an iPhone as a projector). Freedom to block out the world and go introspective, or to harness extrovert-energy and physical movement. You'll see, in the video, some boys running around like maniacs! But it's beyond doubt: they're in flow​. They are doing just what they need, to learn. The learning has seduced them, as well it ought! As well it will, if we trust it enough to let go.

I have a short video of my school to share with you.​

Below, our school principal Stephen Harris leads a tour of one of our learning spaces. From the language he uses about learning, and space, you can get a pretty good idea of the vision and driving forces behind our journey of transformation over the last 5 or 10 years. I have learned a great deal from Stephen, and feel extremely fortunate to be able to work with him. 

Direct link to video.​

​50% or more of our school learning spaces now have a similar openness and flexibility as the space Stephen tours. I would identify space, relationships and culture as three crucial elements in any institution. The three are in intimate conversation with each other, and shape each other. 

You may notice that we don't have codes for our rooms like a prison. Our learning spaces have names.​ We don't have bells, either, but I guess that's another story for another blog.

This is post #2 on Design. Click here for the back-story.​

​Click here to read about the end result (an event in Melbourne) that is the culmination of Design for PD.

So, I'm a n00b when it comes to design. ​ The good news is, that providing you're willing to give yourself over to a counter-intuitive process, you can 'get it' and reap some benefits very quickly. 

For myself and some colleagues the perfect chance to put the process to the test arose as we sat down to envision a new kind of teacher-PD experience.​

You see, we've had, literally, thousands of visitors (about 3k in 3 years) come visit our school. So we asked: "what if we ran our own event, taking to the road for those who can't travel?​​"

The Core Challenge​

We wanted to run a workshoppy, conferencey sort of thing. You can spot the irony and the dilemma immediately: you can't talk about student-centred learning from a microphone​. If you had the courage of your own convictions you wouldn't be teacher-talking, now, would you? Whatever we created, it couldn't be microphone-driven! No, no, no! 

A Collaborative Alliance

Collaboration is a force-multiplier. I recruited two co-conspirators, Mark Burgess and Lou Deibe. Now, Mark has been practising the design process, and I asked him to lead us through it.

​The night before we met, Mark's wife made these posters for us​.

​We then used these posters to define a kind of test subject. We quickly created 'Meredith', with a full back-story and character profile. The trick is to be really specific and detailed. 

So, even as we started defining our challenge, and exploring issues and ideas, Meredith was there with us. Meredith is entirely fictional, but she grounded us, and later we envisaged 'Mel', and could return again to a kind of anchor point: an exercise in empathy to counter our tendencies to get caught up an ego-centric vision reflecting only our own dreams.  

Mark guided us through an iterative process where we defined our challenge, researched around the topic, posed questions, and tried to get clarity over what we could really bring to the table. 

​It became clear to us that we had process​​ to offer, not content. The revolution at NBCS has never been a 'model' per se, it's a process of questioning, reinventing, re-envisioning. 

As​ we wrestled with these questions together, the giant post it notes became a shared thought-space more powerful than any google doc. They're tactile, organic, graphic and transparent. 

(Any teacher reading this post: consider covering your walls with butcher's paper and handing out art-liners to the kids. Your physical space will become a giant wiki. The walls will scream "POWER TO THE PEOPLE"; giant table serviettes ready to record the students' insights & ideas and code them onto the building itself.)​

You can see the way our three brains engaged collectively, looping out of our skulls and splashing onto the walls thanks to simple pen and paper. 

In the video (right), I'm genuinely panicking about the content vs process question. 

Lou goes back to our 'Meredith' character (on right of screen)​ and brings us back to a seductive question: What if...?​​​

This became a winning direction. It allowed us to pitch the whole experience as seduction to get creative. 

As the day unfolded, so we slogged a path toward clarity! It was exhilarating, creating something new from a blank slate, bouncing off each other! Collaboration truly is a force-multiplier. It trumps lone-wolf, every time!​

Whichever official design 'steps' you follow, the process is iterative, so after we tested our ideas against Meredith's experience, we went to Mel's, and cycled through as time allowed.​

All of this took a day, but in my next post I'll document how you use the same process in as little as an hour and still come up trumps with some dynamite outcomes.​

​Mark, Lou and myself met again for a second block to get the logistical detail down. We came up with such insights and strategies as:

- we won't kick off with a plenary or anyone with a microphone. Instead we'll go straight into experiential, project-based learning, breaking the same script we aspire to break at our school.

- ​we'll leverage question-walls & google docs for on-the-day collaboration, connection and networking.

- we'll allow / invite teachers to peal-off from the Day 1 learning program as soon as lightning strikes and they have a great idea about what they'd like to try to prototype.

- we'll leverage our conference website to create a kind of on-site flipped-conference, so that teachers who just want to soak up the support materials, templates, scaffolds, etc, in an introverted style are empowered to do so.​

​If I've intrigued you, pop back to the first post to bounce over to the free online courses that will get you up and running very quickly with a design process. 

The End Result: 'Making it Mobile' Event and Metaphor

If you are in Australia, come join us in Melbourne on Sept 13 and 14 - it won't be anesthetising (how's that for a hook!?) and you'll emerge from day 2 with a working prototype, rather than some abstract ideas & a bag full of advertising materials.

The​ meaning of 'Making it Mobile' is student agency: agency to explore, be curious, to own their own learning, make something authentic and meaningful.

This implies physical mobility, and mobility through the curriculum. Our final three experiential workshops for Day 1 are: the Learning Matrix, Flipped Learning, and Project-Based Learning, each designed to give teachers a scaffolded way forward to up-the-ante toward true student-centric pedagogy.  Oh how everyone is talking about it! But let's do it! Let's actually do it!

We're going to repeat the event in Auckland and Christchurch later in 2012 - watch this space!

​Next Episode:

​Next time, using the design process with 100+ staff, and how no one can run PD from a microphone at our school again!

And finally in Post #4, can 180 Year 5 & 6 students use the design process to create 180 passion projects? (Hint: younglings rarely disappoint when we harness their agenda for learning). ​

If you keep your ear to the ground, you'll spot a pattern in all this: a reversal of the modern splitting of knowledge into disconnected chunks, in favour of immediate, hands-on, authentic building, making, creating.  ​

Design-Thinking in Teaching and Learning

A Flirtatious New Idea

A sea-change whirls around for a while before it bites you, smites you, leaves you stricken, smitten!  Since 2010 the phrase 'Design Thinking'  has been itching in my mind, due particularly to Ewan McIntosh's work with his company 'NoTosh'.

I tip my hat to Ewan. You see, the corporate world uses 'Design Thinking' to solve intractable and wicked challenges. In March I visited Cap Gemini's Accelerated Solutions Environment in Sydney where this is exactly what happens.​ McIntosh realised that we could do with some of that in the edu-world.

Then, in March of this year, a team from my school returned from the Hasso-Plattner-Institut at the University of Potsdam in Germany, where they had 'Design' training. They immediately set about training up our staff here at NBCS. My school will never be the same again.

“If I said that your worst solutions for the challenges you’re facing might just be your best way out of a tight spot, would you believe me?”

— Ewan McIntosh

What is "Design"?

'Design' is, in fact, an entire art-form : a discipline and skill-set that you can study and improve.

Design is the art of collaboratively re-imagining the components that go into an experience. You can apply it to any situation, in your home life, at work or at school; apply it to a lesson plan, a classroom, a physical product or an abstract process.

Make something! A prototype! Reimagine what a classroom is, what it could be! Get your hands dirty, build, rebuild, rebuild!

Our lives and contexts have a rhythm of decay and rebirth, stagnation and renewal. They are never stable. You can never stop redesigning. It's all flux. Design is therefore an art worth my learning.

Design in Schools

In future posts in this series, I am going to document how we've been using design in a school context, in our PD structures, and with our students, starting with Year 5 & 6.

In particular, I will show you how I've worked with a team to apply design to a re-envisioning of what a teacher conference could be. Along the way I've learned more about the design process.

The end result is this: http://scil.com.au/makingitmobile a two day experience we are running in Melbourne on September 12, and 13 in 2012. I'll post more on how it came together in my next post, but the design process lead us to such decisions as:

• Teachers can engage in hands-on, experiential learning within minutes of arrival.
• They'll be equipped with time, time, time, to build, experiment, and prototype a learning experience that will be ready to use when they leave.
• It will undermine the pacifying scripts of guru-with-a-microphone, and facilitate crowd-sourced collaboration.
• Facilitate multiple paths and options so that as soon as inspiration strikes, a teacher can get creating.

I've documented the design process as we've gone. In the meantime, I'd love to see you there!

Get Design-Training, Now, Free

In the meantime, I can direct you to scott-free, state-of-the-art training in design, produced by high-level experts and practitioners, accessible over the web, and requiring only an hour or two to complete.

There is nothing stopping you applying design principles and practising design skills within minutes of engaging with the core processes.

Stanford's free virtual crash course: http://dschool.stanford.edu/

Ideo's free 'Design Thinking for Educators': http://designthinkingforeducators.com/  don't miss their free downloadable toolkit!

Coming soon, in post #2, how design has become a game-changer for us at Northern Beaches Christian School / Sydney Centre for Innovation in Learning.