Please could someone help me!?
Do all of the writing tasks have to be based on the same subject? If so, does anyone have any ideas of what to write about that will conincide with the different tasks/writing styles?
Hope someone can help!
Monday 30 November 2009
Sunday 22 November 2009
WRITING STYLES
As I was unable to attend the last campus session in which writing styles and the next tasks were discussed I have done some of my own research on the varyting styles and formats for writing. It has also been helpful for me to read from other peoples' blogs, so thank you guys!
Here is some of the information I found:
DESCRIPTIVE WRITING:
Descriptive writing vividly portrays a person, place, or thing in such a way that the reader can visualize the topic and enter into the writer’s experience.
The general characteristics of descriptive writing include:
elaborate use of sensory language
rich, vivid, and lively detail
figurative language such as simile, hyperbole, metaphor, symbolism and personification
showing, rather than telling through the use of active verbs and precise modifiers.
ANALYTICAL WRITING:
Analytical writing is a way to get technical information across, so that your readers immediately find out what's important and why -- without getting bogged down in a swamp of details and technical jargon. Analytical writing is simple, direct, concise, and to-the-point. It leaves out gobbledygook and avoids the stilted, impersonal style that clutters journal pages and clogs the machinery of government, corporations, and academia.
REFLECTIVE WRITING:
Introduction - reflection and reflective writing
Reflection lies somewhere around the notion of learning and thinking. We reflect in order to learn something, or we learn as a result of reflecting.
Reflective writing is the expression on paper/screen of some of the mental processes of reflection. Other forms of expressing reflection are in speech, in film, in graphic portrayal, music etc. The expression of reflection is not, however, a direct mirror of what happens in the head. It is a representation of that process within the chosen medium and reflection represented in writing, for example, will be different to that encompassed in a drawing. In other words, in making a representation of reflection, we shape and model the content of our reflection according to many influences. Factors that could shape your reflection into reflective writing might include:
the reason why you are writing reflectively (personal reasons – e.g. in a diary or for academic purposes etc)
whether others are going to see what you have written and who they are (e.g. no-one else; a tutor who will mark it; a tutor who will not mark it, friends etc.);
your emotional state at the time of writing, and emotional reaction to what you are writing (e.g. - a disturbing event that you do not want to think about or something you did well and want to enjoy in the rethinking process);
related to the above, how safe you feel about the material and anyone seeing it;
what you know about reflective writing and how able you are to engage in it.
Here is some of the information I found:
DESCRIPTIVE WRITING:
Descriptive writing vividly portrays a person, place, or thing in such a way that the reader can visualize the topic and enter into the writer’s experience.
The general characteristics of descriptive writing include:
elaborate use of sensory language
rich, vivid, and lively detail
figurative language such as simile, hyperbole, metaphor, symbolism and personification
showing, rather than telling through the use of active verbs and precise modifiers.
ANALYTICAL WRITING:
Analytical writing is a way to get technical information across, so that your readers immediately find out what's important and why -- without getting bogged down in a swamp of details and technical jargon. Analytical writing is simple, direct, concise, and to-the-point. It leaves out gobbledygook and avoids the stilted, impersonal style that clutters journal pages and clogs the machinery of government, corporations, and academia.
REFLECTIVE WRITING:
Introduction - reflection and reflective writing
Reflection lies somewhere around the notion of learning and thinking. We reflect in order to learn something, or we learn as a result of reflecting.
Reflective writing is the expression on paper/screen of some of the mental processes of reflection. Other forms of expressing reflection are in speech, in film, in graphic portrayal, music etc. The expression of reflection is not, however, a direct mirror of what happens in the head. It is a representation of that process within the chosen medium and reflection represented in writing, for example, will be different to that encompassed in a drawing. In other words, in making a representation of reflection, we shape and model the content of our reflection according to many influences. Factors that could shape your reflection into reflective writing might include:
the reason why you are writing reflectively (personal reasons – e.g. in a diary or for academic purposes etc)
whether others are going to see what you have written and who they are (e.g. no-one else; a tutor who will mark it; a tutor who will not mark it, friends etc.);
your emotional state at the time of writing, and emotional reaction to what you are writing (e.g. - a disturbing event that you do not want to think about or something you did well and want to enjoy in the rethinking process);
related to the above, how safe you feel about the material and anyone seeing it;
what you know about reflective writing and how able you are to engage in it.
SOME GOOD NEWS
The first bit of positive news is that I've now joined the blackberry phenomenon so I can access my blogger anytime, anywhere!...
But more importantly, tomorrow I start a full time assistant teaching job at a large secondary school, teaching english and PE! Another significant step up the ladder! All those hours of having my head stuck in applications has finally paid off! :)
But more importantly, tomorrow I start a full time assistant teaching job at a large secondary school, teaching english and PE! Another significant step up the ladder! All those hours of having my head stuck in applications has finally paid off! :)
Saturday 7 November 2009
KOLBS LEARNING CYCLE
KOLBS LEARNING CYCLE
Kolb’s cycle of learning suggests that there are four stages which follow on from each other and repeat in a cycle: Concrete Experience is followed by Reflection on that experience on a personal basis. This may then be followed by the derivation of general rules describing the experience, or the application of known theories to it (Abstract Conceptualisation), and hence to the construction of ways of modifying the next occurrence of the experience (Active Experimentation), leading in turn to the next Concrete Experience. All this may happen in a flash, or over days, weeks or months, depending on the topic, and there may be a "wheels within wheels" process at the same time.
I believe that the principles of Kolb’s Cycle of learning are an important thing to think about as a professional. In order to achieve and move forward it is vital that we reflect on our actions, learn from our mistakes, solve any problems and try again. In my opinion professional reflectivity is essential in becoming the best that you can be in your given profession.
Working as a teaching assistant in a secondary school, I come across many problems, major and minor on a day to day basis in regards to behavioural issues, learning difficulties and so on. This gives me the opportunity to gain considerable concrete experience. The school, Sir Thomas Boughey High School, has strict sanctions for ill behaved pupils, and a good reputation for discipline to enable children to achieve the best success for themselves as individuals. I, as a member of staff, am expected to uphold this reputation.
An example of concrete experience:
One day I was leading a dance class for a group of approximately thirty year 8, lower band children. Although I was being supervised by a qualified P.E teacher, I was pretty much left to my own devices and due to staff shortage I was, if you like, “thrown in at the deep end”. I found that being such a large group, with a number of disruptive children in the class, the noise levels were raising to a difficult level and most of the children were not paying attention to the instructions which I was giving to them. Excited at the prospect of doing street dance they were messing around and making silly and disruptive actions. They had already learnt the main section of the dance with another teacher and the next section was to be 32 counts choreographed themselves, in twos. I split them into groups of four for this session so that they had more people to share ideas with and gain ideas from and asked them to perform their work to the rest of the class at the end.
An example of reflection/observation:
Thinking about the lesson afterwards, I decided that the children did not gain all that they could have or were given the opportunity to gain from the session. Those that did want to learn new skills and put their ideas into practice were prevented from doing this by other disruptive members of their groups. Despite having explained instructions at the beginning of the lesson, when walking around the room to give guidance to the groups, many were not even sure what they were supposed to be doing because they hadn’t listened attentively to instructions provided. The work which was produced was very poor quality with the exception of one group which did work exceptionally well together, however some groups produced no work at all and had clearly spent their time arguing about ideas or messing about. I think part of the disruptive nature in the room was the fact that the pupils were used to being “spoon fed” and hadn’t ever really previously had the chance to come up with their own creative ideas. They seemed unable to be able to organise themselves due to always being organised by a teacher or leader.
An example of abstract conceptualisation:
I decided that I needed to think of a system to get the pupils to be quiet and attentive when I was giving instructions and help. A way to get them to be still would be to get them to sit down while I, as the session leader was talking. Whilst thinking about the problems of the previous lesson, I also came up with the idea of using one single word which would mean for them to sit down and be quiet as it was time to listen to instructions. Using one single word would grab their attention more than dictating a long sentence or phrase.
An example of active experiment:
A couple of days later, I took the same group again, this time splitting them into groups of two to produce their final 32 counts of choreography. At the start of the lesson I explained my new system to them, asking them to sit down on the floor in silence when I shout “Stop”, to listen for instructions, telling them that anyone who didn’t do this quietly and sensibly would do 10 press-ups in front of the rest of the class. I tried this at various points in the lesson to give guidance to the pupils and to get them back on task if I felt they were loosing concentration and although there were a few children still not behaving appropriately, having watched them perform press-ups in front of the group, others did not allow themselves to be drawn into the bad behaviour and get distracted from what they were supposed to be doing. I also think that working in groups of two rather than four helped as they were more willing to share and try each others ideas, rather than all competing to get their ideas heard. Upon reflection of this active experiment, the new system was successful and created a much more effective learning environment and I will be using this again in future physical activity sessions.
Thursday 5 November 2009
WORK AND PEOPLE THAT I ADMIRE
ALVIN AILEY AMERICAN DANCE THEATER
I first saw the work of Alvin Ailey American Dance Theater whist training at Sadlers Wells Theatre, where i saw there performance of "Revelations". Alvin Ailey is not just a company but also has its own school in New York, "The Ailey School" which currently provides 86% of graduates to the Ailey company.
Alvin Ailey American Dance Theater was founded in 1958 when Ailey himself accompanied by a group of black dancers performed for the first time at New York's 92nd Street YM-YWHA.
I first saw the work of Alvin Ailey American Dance Theater whist training at Sadlers Wells Theatre, where i saw there performance of "Revelations". Alvin Ailey is not just a company but also has its own school in New York, "The Ailey School" which currently provides 86% of graduates to the Ailey company.
Alvin Ailey American Dance Theater was founded in 1958 when Ailey himself accompanied by a group of black dancers performed for the first time at New York's 92nd Street YM-YWHA.
"When Mr. Ailey began creating dance, he drew upon his "blood memories" of Texas, the blues, spirituals and gospel as inspiration, which resulted in the creation of his most popular and critically acclaimed work-Revelations."
Being an admirere of gospel music and the blues myself, I found "Revelations" inspiring and was prompted to choreograph my own piece for my A Level Dance project in a similar inspired style.
Below is a video clip of Ailey's "Revelations":
WORK AND PEOPLE THAT I ADMIRE
AKRAM KHAN- ZERO DEGREES
I first saw this piece whilst training in 2007 at Sadlers Wells theatre and instantly felt drawn to it. Here is a video clip of the piece:
Akram Kahn is renowned for developing his own "contemporary Kathak" style and has won numerous awards including a Time Out, Critics Circle and Southbank Show Award. In "Zero Degree", Akram Khan combines his own unique style with that of Moroccan- Flemish, Sidi Larbi Cherkaoui. "Zero Degrees" explores a theme of borders such as those between countries and cultures and more significantly, those between life and death. The story of the piece is recounted by two dancers in three spoken episondes, of their uncomfortable experience during the transition through an Indian border. The tell us of the panic of a lost passport, and the eventual discovery of a corpse sharing their train journey.
The piece begins with an open curtain, showing a simplistic set of white with only one wing upstage of each side. Also positioned either side are two remarkably lifelike, white, male figures, contributed by sculptor, Anthony Gormley. They could be the visual aid of the dead corpse and help to portray the contrast between life and death. Similarly this could be interpreted that the bodies represent how losing a passport could lead to the eventual loss of identity in foreign countries. These figures are befriended, mocked and even assaulted by the dancers throughout the piece. The icy whiteness of the stage and props create a very cold atmosphere, despite the story being about the passing of borders in hot climate countries, therefore creating a contrast between the visual environment and the plot and showing not the climate of the country but the cold harsh reality of the experiences there. These colour tones also relate to the title of the piece. The lighting, by Mikki Kunntu, mirrors this cool feeling using clear, white, or grey tones. Shadows are created giving the impression that there are more people on stage than there actually are and these shadows vary in shape and size, showing the influence and power that people can have over others or the fear of those vulnerable.
The music is written by Mercury Award winning composer, Nitin Sawhney. The score has traditional Bangladeshi and Indian infliences and is played by four musicians situated behind a gauze upstage. They cannot be seen all the way through the piece and are highlighted by spotlights at certain prominent moments.
The piece begins with Khan and Cherkaoui sitting cross-legged in central downstage, narrating the story behind the lost passport in perfect unity of voice and hand gesture which then leads to a hand and arm duet, blending the ethnic origins of both artists. They are wearing simple costume of plain coloured trousers and a t-shirt which could be worn on a visit to a hot country. Cherkaoui's "rubber-boned flexibility" is presented in an intensley fluid solo in which he covers the whole stage keeping his head of shoulders in contact with the floor at all times using rolls, somersaults and balances. Meanwhile, Khan sits on the chest of one of the dummies examinig body parts such as the hands, and comparing them with his own, as if comparing the differences between people from varying cultures or backgrounds. Towards the end of Cherkaoui's solo he begins to slap hiself with the hand of one of the foam dummies and later begins to abuse it by kicking and slapping it. Khan reacts to this violent abuse my mirroring the dummy simultaneously, making the audience feel uncomfortable. At this point there is no musical accompaniment so the only sounds are that of body parts being harshly banged and slapped against the stage surface. This only emphasizes the violence of the actions.
Not only is the story line full of contrasts an borders which are mirrored by set, props and lighting but there is also a significant variation in the physique of the two dancers, Khan having a more muscular controlled body compared to that of the paler, thinner Cherkaoui.
At the climax of "Zero Degrees", Cherkaoui cradles a broken dummy, while Khan dances a lament, showing the effect of the loss of a loved one. He then begins to shake vigorously as if fitting, before becoming still and lifeless as the dummies. Following this, Cherkaoui picks Khan up and carries him offstage, while the musicians softly play into silence on an otherwise empty stage. This section shows the transition of life into death.
This piece inspired me for the way that such a strong choice of subject matter is portrayed in such a clever and unique way. It is visually movin and very sentimental.
I first saw this piece whilst training in 2007 at Sadlers Wells theatre and instantly felt drawn to it. Here is a video clip of the piece:
Akram Kahn is renowned for developing his own "contemporary Kathak" style and has won numerous awards including a Time Out, Critics Circle and Southbank Show Award. In "Zero Degree", Akram Khan combines his own unique style with that of Moroccan- Flemish, Sidi Larbi Cherkaoui. "Zero Degrees" explores a theme of borders such as those between countries and cultures and more significantly, those between life and death. The story of the piece is recounted by two dancers in three spoken episondes, of their uncomfortable experience during the transition through an Indian border. The tell us of the panic of a lost passport, and the eventual discovery of a corpse sharing their train journey.
The piece begins with an open curtain, showing a simplistic set of white with only one wing upstage of each side. Also positioned either side are two remarkably lifelike, white, male figures, contributed by sculptor, Anthony Gormley. They could be the visual aid of the dead corpse and help to portray the contrast between life and death. Similarly this could be interpreted that the bodies represent how losing a passport could lead to the eventual loss of identity in foreign countries. These figures are befriended, mocked and even assaulted by the dancers throughout the piece. The icy whiteness of the stage and props create a very cold atmosphere, despite the story being about the passing of borders in hot climate countries, therefore creating a contrast between the visual environment and the plot and showing not the climate of the country but the cold harsh reality of the experiences there. These colour tones also relate to the title of the piece. The lighting, by Mikki Kunntu, mirrors this cool feeling using clear, white, or grey tones. Shadows are created giving the impression that there are more people on stage than there actually are and these shadows vary in shape and size, showing the influence and power that people can have over others or the fear of those vulnerable.
The music is written by Mercury Award winning composer, Nitin Sawhney. The score has traditional Bangladeshi and Indian infliences and is played by four musicians situated behind a gauze upstage. They cannot be seen all the way through the piece and are highlighted by spotlights at certain prominent moments.
The piece begins with Khan and Cherkaoui sitting cross-legged in central downstage, narrating the story behind the lost passport in perfect unity of voice and hand gesture which then leads to a hand and arm duet, blending the ethnic origins of both artists. They are wearing simple costume of plain coloured trousers and a t-shirt which could be worn on a visit to a hot country. Cherkaoui's "rubber-boned flexibility" is presented in an intensley fluid solo in which he covers the whole stage keeping his head of shoulders in contact with the floor at all times using rolls, somersaults and balances. Meanwhile, Khan sits on the chest of one of the dummies examinig body parts such as the hands, and comparing them with his own, as if comparing the differences between people from varying cultures or backgrounds. Towards the end of Cherkaoui's solo he begins to slap hiself with the hand of one of the foam dummies and later begins to abuse it by kicking and slapping it. Khan reacts to this violent abuse my mirroring the dummy simultaneously, making the audience feel uncomfortable. At this point there is no musical accompaniment so the only sounds are that of body parts being harshly banged and slapped against the stage surface. This only emphasizes the violence of the actions.
Not only is the story line full of contrasts an borders which are mirrored by set, props and lighting but there is also a significant variation in the physique of the two dancers, Khan having a more muscular controlled body compared to that of the paler, thinner Cherkaoui.
At the climax of "Zero Degrees", Cherkaoui cradles a broken dummy, while Khan dances a lament, showing the effect of the loss of a loved one. He then begins to shake vigorously as if fitting, before becoming still and lifeless as the dummies. Following this, Cherkaoui picks Khan up and carries him offstage, while the musicians softly play into silence on an otherwise empty stage. This section shows the transition of life into death.
This piece inspired me for the way that such a strong choice of subject matter is portrayed in such a clever and unique way. It is visually movin and very sentimental.
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