Teaching Portfolio LEANNE GUIHOT

TEACHING PORTFOLIO : Leanne Guihot 2015

Teaching Portfolio

Name: LEANNE GUIHOT

Contact Details: [email protected] : Mobile : 0488 915979

Tutor: University of Newcastle,

School of Education, Faculty of Education and Arts

Academic Qualifications: RhD Candidtate, Masters of Philosophy 2014 - Present

University of Newcastle

Graduate Dip. In Education 1999Macquarie University

Bachelor of Arts 1989 - 1995University of Newcastle

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mailto:[email protected]


Contents

Teaching Responsibilities................................................................................................................................................3

Statement of Teaching Philosophy..................................................................................................................................4

Teaching Practice............................................................................................................................................................5

Position: Tutor – EDUC3745.............................................................................................................................5


Teaching Practice (cont.).................................................................................................................................................6


Position: Tutor – EDUC1008 Foundations of Primary/Secondary Ed...............................................................6

Teaching Practice (cont.).................................................................................................................................................7

Position: Tutor – EDUC2101 Introduction to Specialist Studies.......................................................................7

Position: Tutor / Education Consultant..............................................................................................................7

Position: Writer/Producer/Performer/Administrator..........................................................................................7

Teaching Practice Cont...................................................................................................................................................8

Description of Course Materials......................................................................................................................................9

Efforts to Improve Teaching..........................................................................................................................................10

Conferences and Workshops Attended.........................................................................................................................10

Performance: the Importance of Reflection..................................................................................................................11

Feedback : Students.....................................................................................................................................................12

Feedback : the Centre for Teaching & Learning............................................................................................................13

Innovations In Teaching................................................................................................................................................14

Teaching Goals : Long and Short term...........................................................................................................................14

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Teaching ResponsibilitiesTutor: University of Newcastle,

Faculty of Education, School of Education and ArtsCOURSE: EDUC3745Responsible for delivery of 3 hour tutorials : Drama, in the Primary Setting

Programming/implementing practical workshop (Drama Skills) :This involves open discussions surrounding the students’ experiences in the classroom, coupled with strategies that are applicable to Drama, but also across other Key Learning Areas (K.L.A.).The drama skills are aimed at students with little or no drama experience, laying solid foundations of understanding regarding fundamental elements that need to be used throughout any drama lesson. It is important for the students to have a clear understanding about the varied levels of confidence in drama performance and abilities that they are likely to encounter. The students also need solid strategies that hone skills, help build confidence and promote higher order thinking. All students receive a detailed set of Tutorial Notes to guide them through exercises and points of discussion. (See Appendix ‘A’)

Unpacking Creative Arts NSW Primary Syllabus :This involves looking at both the NSW Primary Syllabus (Creative Arts/Drama) and also addressing the new ACARA National Curriculum (Draft - Drama K-12). It is important for students to have a good understanding of how to unpack a syllabus document, of how to address Outcomes, Indicators, Aims, Assessment, themes/focus areas and drama integration with other K.L.A.’s.

Exploring Quality Teaching/Blooms Taxonomy :This involves discussions surrounding the Quality Teaching Framework and Blooms Taxonomy that can help students’ with writing and implementing Units of work not only for drama, but across all K.L.A.’s. Also, strategies are explored regarding the creation of a safe environment to ensure students in the classroom feel safe, respected and challenged.

Exploration of models of pedagogy for programming, teaching and assessing Drama:

With each and every exercise, activity and discussion comes a mix of modelling pedagogical approaches and formative ideas for assessment. Assessment is also addressed formally, and examples are provided in the Tutorial Notes that are made available to all students.

Marking : Essays + Lesson Plans :This is an essential and very important aspect of this course. I take marking of both assignments very seriously, and offer considerable and detailed feedback, both constructive and positive. Marking for this course is done online through Turnitin, and so as soon as marks go live, students have access to their mark and all the feedback that is woven throughout their assignments, along with a detailed, general comment at the very end.

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Statement of Teaching Philosophy

Teaching is arguably amongst the most noble and important professions in the world. I believe wholeheartedly with this sentiment; when I teach, I feel alive. I sense the wry smile, but I mean every word. When sparks fly and neurons race, there is no greater rush. But more than that, I have always approached teaching with a strong sense of social justice, and the idea that a good, holistic education is important for all.

Every student is unique and I believe, has something to offer in terms of enriching each others’ learning experiences as well as their own. Howard Gardener’s multiple intelligences explore the many ways in which we learn, and the different intelligences that operate and respond to varying degrees depending on the pedagogical strategy employed.

My role as a teacher is to facilitate the learning of every student in my class or tutorial. This means, having a strong understanding of various pedagogies and their application, in order to reach and help guide the variety of learning styles and needs of my students. My role is not to impart knowledge as such; my role is to encourage higher order thinking, to foster autonomous learning and to act as a guide for my students to enhance their learning experience in the best possible ways.

I prefer a ‘student centred’ teaching style, but I also understand where and when I need to be ‘teacher directive’, where instructions need to be explicit and where students need to be free to make their own choices in the learning environment. A healthy learning environment can only be created when the teacher has a solid grasp of the multiple intelligences before them, and can embrace these varied learning styles, creatively and intelligently.

To ensure my teaching is effective, I employ various strategies to self-monitor. Firstly, at the ‘coal face’, I offer my students Feedback cards, that have been printed and made available by the School of Education at the University of Newcastle. This gives students an opportunity to jot down their views, whilst their tutorial experience is fresh in their minds. Secondly, I engage in external monitoring of my teaching through the Centre for Teaching and Learning at the University of Newcastle. This involves a tutorial being viewed and feedback formally (in writing) and informally (in person) being offered. Thirdly, at the beginning and end of each semester, I review my own tutorial plans and update resources etc., but I also address my teaching methods, and reflect on areas that have worked well, and address the areas that did not work as well.

The University of Newcastle has a thorough and explicit policy regarding the rigour and expectations on both teachers and students and it is important to me that my teaching style reflects this; i.e. that I am professional in my conduct toward students at all times, that I am thoroughly prepared and organised, follow the Course Outline and deliver Course Content to the best of my abilities.

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Teaching Practice

Mar 2011 – Present

Position: Tutor – EDUC3745Employer: School of Education, Creative Arts, University of Newcastle

Duties: Programming, design and implementation of practical workshops [Drama] Unpacking Creative Arts NSW Primary Syllabus : navigate the content, structure and organisation of

the NSW K-6 Creative Arts curriculum Demonstrate knowledge of the principles and practices of teaching and learning K-6 Creative Arts Explore Quality Teaching/Blooms Taxonomy Discuss the role and value of Creative Arts in the broader school curriculum, and its place in the K-

12 Creative Arts continuum (particularly the links between Stage 3 and 4) including differentiated support for students with special needs

Explore of models of pedagogy for programming, teaching and assessing Drama Marking : Essays + Lesson Plans

June 2015 (compressed course)


Duties: Plan, write and design 2 x lectures : 2 x tutorials [Drama] Guide implementation of creative arts within the Early Years Learning Framework and Australian

Curriculum. Constructively apply theoretical and philosophical knowledge in the development of a range of

practical creative arts experiences. Develop teaching skills in the development of creative arts learning experiences for children. Explore different approaches to implementing creative arts within early childhood settings; Explore Quality Teaching/Blooms Taxonomy Explore models of pedagogy for programming, teaching and assessing Drama Marking : Essays + Lesson Plans + Lesson Implementation [practical component]

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Teaching Practice (cont.)

One-off Tutorial : Semester 2 : 2014


Duties: Programming/implementing practical workshop - Playbuilding Unpack/explore Playbuilding Skills Explore Improvisation, Teambuilding, Collaboration Explore models of pedagogy for programming, teaching and implementing Playbuilding

Mar 2013 – June 2013

Position: Tutor – EDUC1008 Foundations of Primary/Secondary Ed.Employer: School of Education, Creative Arts, University of Newcastle

Duties: Introduce education as theory, practice and field of study Introduce notion of teaching as a profession Critically engage students with models of pedagogy Explore social, cultural and political contexts Marking : Essays + Exam

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Teaching Practice (cont.)

Mar 2012 – Nov 2012

Position: Tutor – EDUC2101 Introduction to Specialist StudiesEmployer: School of Education, Creative Arts, University of Newcastle

Duties: Programming/implementing practical workshop (Drama Skills) Unpack Creative Arts NSW Secondary Syllabus Multiple discourses that inform curriculum theory & design Design challenging, engaging and supportive Drama lessons Marking : Essays + Lesson Plans

May 2003 – November 2003

Position: Tutor / Education ConsultantEmployer: James Ross Group

Duties: Plan/write Drama lessons for Students aged 14 – 17 Create/implement Drama Programs for Community Projects Teaching : Life Skills (Playbuilding / Literacy/Numeracy/Interview etc.) Teaching Students with Learning Difficulties Funding Strategies / Administration / Conflict Resolution

2000 – November 2002

Position: Writer/Producer/Performer/AdministratorEmployer: (self) Purple Moon Theatre

Duties: 2 x plays (writer) Make/Design : 3 x masks, 3 x puppets Write/Design Teachers’ Notes [accompany shows] Perform 2 x shows [including puppetry/mask] Administration duties / schools liaison / Accounts

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Teaching Practice Cont..

2000 – PresentPosition: Casual Teacher (on-call)

Employer: West Wallsend High / Kotara High/Toronto High/Kurri Kurri High

Duties: Teaching : English/Drama/History/Geography Teaching Students with Learning Difficulties Monitoring Students : Sport / Excursions

Jan – May 2003

Position: Casual Teacher (on-call)

Employer: Glendon Special School

Duties: Teaching Students with Physical/Mental disabilities Helping to feed/toilet Students Monitoring Students : reporting to Teachers & Parents Applying Individual Sensory/Physical Therapy

Jan 1993 – 2002

Position: Actor / Workshop Co-ordinator

Employer: Freewheels Theatre

Duties: Actor : plays - targeted schools audiences: K-2, 3-6 &7-12. Touring interstate : NSW, Qld, Vic & ACT Co-ordinating Workshops: Bullying, Drugs, Puppetry, Mask, Mime, Improvisation Facilitated post show Q & A sessions

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Description of Course Materials1. TUTORIAL NOTES :

The Tutorial Notes for EDUC3745 are designed to both compliment the tutorials and act as a potential resource to be built upon. The notes offer summarised notes about the Quality Teaching framework, classroom management, assessment in drama, essential elements for creating a safe environment, various pedagogical styles and strategies and approaches to teaching drama (e.g. D. Heathcote – “Mantle of the Expert”, strategies for individual exercises and group work. etc.). But more than that, every single practical exercise that the students do in tutorials are detailed and provided in point form for easy access and use at a later date. My aim in providing the notes is to give students a comprehensive document that acts as a foundation stone, a beginning to move forward and grow with.

It is important that the students feel supported and challenged. Many students have little or no drama experience, and it is my job to help facilitate their learning and understanding. I find that many students discover they do have strengths and ideas and something to offer – along with a strong sense of empathy toward likeminded students.

2. EXAMPLE OF PEER ASSESSMENT: (Formative Assessment : EDUC3745 – Group Work)

[An example of a handout for students to assess each others work]

GROUP 1 _____________________________

Drama Forms Used : ......................................................................................................................................

Elements of Drama used: Tension / Contrast / Symbol / Time / Space / Focus / Mood.

Theme: “It’s Not Fair”: ADDRESSED WELL / ADDRESSED / NOT ADDRESSED

The Group worked well together: STRONGLY AGREE / AGREE / DISAGREE

Dramatic Forms Used were well presented: STRONGLY AGREE / AGREE / DISAGREE

Overall Performance was: EXCELLENT / GOOD / AVERAGE / UNDER-REHEARSED

What worked? What was clear?

....................................................................................................................................................................

What elements were present?

....................................................................................................................................................................

What was unclear? What moments could be embellished or improved?

....................................................................................................................................................................

....................................................................................................................................................................

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Efforts to Improve TeachingI will be completing the Fundamentals in University Teaching Certificate this year (2014). This has entailed my participation in workshops for teaching at tertiary level, along with methods for assessment and approaches to various types of assessment.

I believe that teaching is an ongoing, lifelong process. One that requires diligence in keeping abreast of current issues, teaching strategies, curriculum changes and continuing to search for and implement new and relevant teaching resources.

Also, I believe that ensuring that my teaching is assessed (by CTL staff), is invaluable and also essential for my growth in tertiary teaching, along with peer meetings with fellow Tutors to keep abreast of new practices and policy.

Conferences and Workshops AttendedJune 2014 : Thinkwell : with Maria Gardiner

The 7 Secrets of highly successful research students Turbocharge your writing Shameless self-promotion

2014 : Fundamentals in University Teaching Certificate

March 2014 : CTL : Conducting Tutorials March 2014 : CTL : Preparing Constructive Feedback CTL : Assessment CTL : The Flipped Approach to a Learner-Centred Class April 2014 : CTL : Rubrics and Portfolios May 2014 : CTL : Written assessments: Short answers & essays for exams. June 2014 : CTL : Blended and Online Teaching and Learning Sept 2014 : CTL : Effective Group Projects

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Performance: the Importance of Reflection

I began my formal teaching career in the year 2000, but my learning ground for teaching strategies began in 1993 when I started working as an actor for a theatre-in-education (T.I.E.) company, Freewheels Theatre. In the 10 years I spent working with Freewheels, I performed shows in schools (Pre-K-Yr 12), but there was more to being a T.I.E. actor than acting in plays. The actors were also expected to conduct question and answer sessions at the closure of each and every performance. Also, (as part of the package) we often conducted workshops dealing with various issues and skills, such as: bullying, peer pressure, drugs, puppetry, mask and improvisation.

In 2000, when I began face-to-face teaching with the NSW Department of Education, I had already been filled with inspiration and felt ready and excited about becoming a teacher in secondary schools. I chose secondary teaching because of my love of drama and passion for literature.

Reflection is important on many levels. At the end of every tutorial I think about areas that are new and relatively untried and evaluate their success. Sometimes activities are dropped or modified and my tutorials are in a constant state of adjustment and improvement.

My students are encouraged and given the tools to reflect on their own work and also, each others’ work. This is intrinsic to the way in which my tutorials/classroom is structured. Constructive and positive criticism is discussed at length, and often as part of the learning process, at the end of a group activity, the students are given scaffolded instructions to accommodate growth in these areas. For example, exercises and activities exploring a drama form such as mime may end with a group performance. Before each performance, the students are given a rubric of elements and performance skills to identify and comment on. At the end of each performance, as a whole class, we discuss these elements and skills – such as; What did we see that worked well? What didn’t work so well or was unclear? What could be done to improve? What was your favourite moment? Which elements of mime were present (e.g. attention to detail/continuity/body movement/facial expressions etc.)?

I can now look back, and see the journey. It has been an amazing learning curve – one that will continue to challenge and surprise me. That’s what I love the most about teaching; you never know which student is going to shock you with their innovation and passion. My job is to inspire and inform and engage students who are often reluctant participants and I can honestly say that the majority of my students, come away having had a great time, having learnt a lot about the power of drama, and having learnt about themselves.

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Feedback : StudentsTaken from Students attending tutorials in 2014/15 | EDUC3745:

“Thank you for your email. ... By the way Leanne in Drama is amazing, in two tutes I felt inspired and confident in my ability to be able to take the initiative, research and incorporate Drama into my teaching practice. I am finding this course engaging, practical and relevant which is nice after a questionable experience in Arts1010. “ (Bachelor of Teaching(Primary)/Bachelor of Arts- 3rd Year student, University of Newcastle, Central Coast Campus)

“Great practical tools for classroom practice. Safe environment to try different things.”

“Fun, practical, caring, nurturing environment, engaging teacher, inspiring.”

“Fun, practical, - how to integrate CAPA subjects into other subjects.”

“The teaching of skills + techniques. Opportunities for practice – caring and supportive environment.”

“Some enthusiastic staff, especially Drama tutor, Leanne, who was fantastic.”

“All tutors and coordinator/lecturer David Roy, Leanne, Carmen, Gavin, Michelle were consistent, professional and extremely knowledgeable in regards to this course.”

“Don't worry I have completed the course feedback! I would also just like to thank you and all the tutors for this course. It was THE best course I have done at Uni thus far. The difference? You all want us to succeed and you are all passionate about the Creative Arts. And that really showed. It was high quality, explicit, everything a teacher/course should be. I walked into this course nervous and with a lot of barriers and I didn't feel it was that important. I am walking out of this course totally transformed. With so much more knowledge and understanding. Thank you in advance on behalf of all my future students who will succeed in learning solely due to this course and you and the tutors.Regards,Bachelor of Teaching (Primary) / BA 3rd Year StudentOurimbah Campus”

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Feedback : the Centre for Teaching & LearningIn May 2014, Joe Lipsett, Deputy Director – Academic Development, Centre for Teaching and Learning, University of Newcastle, sat in on (and participated in) one of my tutorials. The feedback I received from him was invaluable and I immediately implemented changes to the ways in which I approached my tutorials: more questioning and investigation of students’ knowledge, clearer instructions, more time for students’ enquiries and reinforcement at the beginning and closure of my tutorials. He also gave me some positive feedback:

One of your strengths is your warm, approachable nature. This is a good quality for any instructor to have, but as someone who is asking students to act, it is essential. You have the ability to make students feel comfortable and safe in a physical environment that isn’t particularly conducive to the activities / content. The fact that students go along so willingly indicates that they have confidence and trust in you.

The hands-on nature of this lesson is great for ensuring student engagement – students are up, they’re moving around, practicing the lessons and getting involved. Students had time to work as individuals, as well as in pairs and mid-sized groups, which encouraged a diversity of peer-to-peer interaction and collaboration. There were no disengaged students in the class during the one and a half hour tutorial.

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Innovations In TeachingI am currently enrolled in a Masters of Philosophy (RHD). Whilst deeply exploring the impact of puppetry on children with special needs I am growing and evolving as a teacher and drama practitioner. As I read, explore and critically analyse the many and varied methods that educators use to help students reach their full potential, I am refining and honing my own skills in this area. I hope to create innovative and practical methods to help children who face physical and mental challenges, to grow in areas of self esteem, social skills, sense of self and empathy towards others, which will help them scholastically as well as personally.

In 2002, I worked with James Ross Group and combined with the PCYC in Broadmeadow, I was involved in the “Links to Learning” program designed to help at-risk students face their problems and hopefully, give them the tools and confidence to complete their schooling.

As part of this program, I designed, wrote and implemented a playbuilding unit. The aims of the unit were to give the students the tools to not only create and write their own play, but to learn about themselves along the way.

For students of any age, Drama is a powerful tool of self expression and exploration and discovery. Playbuilding has the potential to provide young people with the vehicle to voice their opinions, dreams and fears etc. Whilst exploring and creating together in a group setting, students can develop life skills, such as: empathy, compassion, cultural awareness, self esteem, social skills, communication skills, teambuilding skills - thus helping to make a connection with the broader community.

Playbuilding, can be used as a tool to help circumvent confusion and ignorance, or at the very least, offer some degree of understanding through in-depth exploration of issues and events. Exploring the Drama process with students, acts as a mirror to our world. The exercises / scenes/ improvisations/ performances created can be funny, satirical, abstract – or merely a comment on an event or moment in time. Through playbuilding, these troubled students were able to explore, in depth, issues and problems that they were facing in their lives.

Teaching Goals : Long and Short termIn the short term, I will continue to teach EDUC3745 in the School of Creative Arts, Faculty of Education at the University of Newcastle. But I have also extended expressions of interest in other classes and areas, such as mathematics and other drama related education courses.

For the long term, I am embarking on my Masters in Philosophy, and am hoping to upgrade this to a Phd. Once I have completed this, I am hoping to be in a much better position to apply for a permanent job, lecturing and tutoring in Education, at the University of Newcastle.

RESEARCH QUESTION:

Does the introduction of a puppetry/playbuilding programme in communication and socialisation support, have a positive impact on the observed behaviour states and contextual conditions experienced by students with PMD enrolled in special education school and mainstream class programmes?

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Teaching Portfolio LEANNE GUIHOT

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