Cracking on with Module 3 ....

Although I haven't blogged for a while I have been regularly reading everyone blogs as they start to analyse their data and are coming to some conclusion as to the findings of their inquiries. It makes for very interesting reading as the range of topics is so varied considering our shared professional practice and training backgrounds are on the whole all quite similar!

I found collecting my data very interesting and very much enjoyed carrying out my research. As I am observing the correlation between children's developmental movement ability and their listening, concentration and fine motor skills; I have been working closely with the children to gain I clear idea of their abilities and behaviour.

I had set out to carry out developmental movement interventions in order to improve the children's balance, proprioception and coordination (foundations for formal learning) hoping that by the end I would notice I difference (or the teachers I have interviewed) in their formal learning skills. I have been involved in a mush wider intervention scheme of this type in my previous professional practice and have therefore seen the benefits of it first hand. However one of the main issues I experienced was the time span for my inquiry.

Although I am seeing a positive response to the movement whilst analysing my data, I feel to have collected a completely uniformed improvement I would needed a much longer time frame and more regular intervention sessions. I have however started to analyse and explore a number of other themes occurring in my findings and hope to answer the following questions throughout my critical review:

- Is there a direct correlation between the developmental movement ability and the listening, concentration and fine motor skills in children?
- Is there a noticeable difference between the boys and girls?
- Which movements or type of movements (core distal, homologous, homo lateral, etc..) proved most difficult for the children?
- Did every child improve they scores in the initial and final assessment?

I am also starting to develop my professional artefact and have decided to target it at the the audience of parents of children at a preschool and foundation/reception age. I am still debating whether to produce a short documentary style video or some form of information booklet???

What sort of forms are other peoples artefact's taking?? Is anyone else targeting their artefact at parents??

Any feedback or ideas would be extremely welcome!!!!!
   

Summer's over!!!

Sitting here on this very wet, very rainy and very dreary morning ... it's finally hit me that summer is well and truely over : (

Having had an amazing summer of fun, friends, family, kids clubs, holidays and sunshine - I'm ready to crack on with our final module!

I have gathered my intial data for my inquiry and met and assessed the children I am working with for the next few weeks. Now in the process of starting my literature review and reading through reader 7 to prepare myself for the workload ahead!

Hope everyone has had a fabulous summer : )

Post soon!!!

Critical Reflection and Summary: Digital Portfolio

Throughout ‘Module WBS3630 - Principles of Professional Inquiry’, I have engaged with my networks to enable me to develop my professional questions, ethical considerations and evaluation of the tools needed for my professional inquiry.

When choosing the subject for my inquiry, sharing my initial professional questions on my blog was an effective way of networking with other students who had similar lines of inquiry (Task 4a). Reading and commenting on other’s professional questions; especially Jo Bradley, who I have offered and received continual support and advice from; has proved an insightful tool in developing my own questions.

To help with further engagement in my networks I formed a SIG entitled ‘Teaching Dance to Young Children’ on Facebook; agreed by fellow BAPP students as the ‘ideal wiki’ (Task 4b). The SIG has been an excellent platform for me and the other members to discuss each other’s inquiry topics; gain advice or critique; and link our blog posts and other documents on a wiki (Facebook) which is accessed daily by the majority of members. Subsequently feedback and responses have been considerably faster.

My initial proposed inquiry topic (Task 4c), was a useful way to start connecting with my other networks of previous college peers, and professional dance teachers; adding depth to my existing knowledge of my professional practice. However after starting a new job, my line of inquiry developed further to encompass a more current topic I was involved in (A change in direction …). After discussing the topic and piloting initial questions on children’s movement through my SIG; fellow students were very positive, agreeing that my proposed inquiry would produce useful benefits.

In order to develop the ethical considerations of my inquiry, I became aware of the additions and differences between my own ethics (Task 5a), and the relevant official codes of practice and regulations (Task 5b). Relating all these ethical codes to the ‘Module Reader 5: Professional Ethics’ (Task 5c), helped me to gain a better understanding of their importance, and the validity they will bring to my inquiry. Through discussions with my networks (comments on all Task 5 blog posts) I was referred to other ‘code of practice’ documents and further reading material on ethics (WBS 3630 Reader 5: Reading 3 [Doyle, D. 2007]), which have all developed my ethical considerations in regards to my inquiry.

To enable me to evaluate and decide on the tools needed for my professional inquiry, I conducted a pilot interview, focus group and observation (Tools of Professional Inquiry). This helped me to consider the limits and merits of each tool; and by sharing my experiences with my networks, I was able to gain further analysis of the tools, and suggestions for improvements (Task 6a). Partaking in other students inquiry tools (survey), has given me the chance to experience the tools as a participant. Therefore I have taken this into consideration when planning my use of inquiry tools (eg: are the question’s clear; would I be intimated or pressured by the questions? etc…)  

My communication with the networks has been extremely useful in the planning of my inquiry; and my engagement will continue in order to help and support me to carry out the entirety of my study. 

Task 6a & 6b - Tools of Professional Inquiry

Using the information from Reader 6 'Tools of Professional Inquiry', including; the different methods of 'data collection' (their merits and limits), the ways in which to analyse and evaluate my data and the affects of being an 'insider researcher'; I have piloted 3 of the 4 tools of inquiry - an interview, a focus group and an observation.

Although I have not had time to personally create my own survey (the 4th tool of inquiry); I am however having to hand out and collect a survey created by the 'Learning South Leicestershire School Sports Partnership', who I am currently working for. This has given me the chance to evaluate that the quantitative data produced from a survey in the field/topic I am researching, would be very useful when collecting data from the children's parents in my inquiry.

Below is the link to my critical reflection on the 'tools of professional inquiry' I piloted:

Tools of Professional Inquiry - Merits and Limits

I know it's long!!! But I would really appreciate if you could take a look and let me know your thoughts. Did you have similisr experiences when conducting your pilot interviews, surveys, focus groups or observations? Is there anything I havn't included that you think I need to consider about using any of the tools of inquiry?

A change of direction ...

I have recently taken a job as a 'Movement Coach' for the 'Big Moves' program. I will be teaching sessions to 4-6 year olds in 35 different primary schools around Leicestershire, for courses of 6 weeks throughout the coming months. The 'Big Moves' is aiming to improve the children's fundamental movements and 'physical literacy' through a range of set movements and exercises, which will hopefully improve their learning capacity and performance at school. At first I just saw this as a great experience, a good income, a use of my training and another job in between auditions and my BAPP study. However, having completed my training days, I have become so inspired by the research and reason behind the program I have decided to use this as the basis for my inquiry...

I have been given the opportunity to make a difference! Not only through my job, but also by using this as a basis for my inquiry in order to inform others of it's affects!!!

Task 5c - Professional Ethics

After referring back to 'Reader 5: Professional Ethics', it has become clear how the codes of practice I follow in my work place/professional community relate to the theoretical ethical framework and the ethics of professional inquiry.

The three main contexts regarding ethics: personal, professional and organisational, 'contribute to the promotion of social good in the larger society' (Reader 5 Professional Ethics, Middlesex University).

Each context requires the practice of evaluation, and the decisions made can have a ripple effect from personal to professional to organisational, resulting in ethical issues society has to question to be justified, good, right and/or necessary.

The 'Council for Dance Education and Training' (CDET) states in it's 'Code of Practice':
Be aware of developments in Child Protection legislation and undertake Criminal Records Bureau enhanced disclosure as required.

I have constructed a diagram which shows the ripple effect of ethical issues this may produce:

Personal – Being aware of the regulations & developments in Child Protection legislation.

Knowing you are safe & responsible, your own limitations and your capability.

Professional – Obtaining a CRB certificate. Reading up on

the ‘Code of Practice’ for your work place regarding child welfare.

Organisational – Your employer/organisation making sure you have/or getting you a CRB check/certificate.

Ensure employees have proficient knowledge of child protection policies.

Society – Is there enough training and information available for dance teachers & their employees on

Child Protection? Is there sufficient funding available to supply CRB checks and training?

In regard to the three 'Theoretical Approaches to Ethics'; consequentialism, deontology and virtue ethics; I have related each approach to a situation I have previously had to deal with in my professional practice:

Situation - A child (aged 10/11) is seriously misbehaving in class; shouting, being very rude, disrupting the class and other pupils. After using a variety of techniques and approaches to discipline and calm the child down, I send them to stand outside the door for 5 minutes, before asking them to return to class and behave appropriately. The child does behave for the remainder of the lesson. (Note - the door was open and an assistant teacher could see them at all times.)

Consequentialism

'The notion of the greatest happiness for the greatest number is at the heart of consequentialism' (Reader 5 Professional Ethics, Middlesex University); based on this I feel that the action I took was ethically right. By sending one child out the lesson for a few minutes, the other twenty children were able to concentrate and gain more from the lesson. As the behaviour of the said child was also improved, I feel my action adheres to the consequentialistic ethos: 'whether an action is morally right depends on the outcomes'.

Deontology

As a 'sharp contrast to consequentialism', the action I took may be questioned to whether it was morally right or not. In terms of Deontology, ethical action should be 'rule' and 'duty' based; and although I had tried other discipline techniques first, should I have taken the action I did? Did I give enough consideration to the welfare of the child? Did I disregard my 'duty' to give every child the opportunity to benefit from the class?

Virtue Ethics

The emphasis here lies with the 'character of the moral agent'. I take my personal and professional ethics very seriously, adhering strictly to the relevant 'codes of pratice', and try my utmost in every situation to do what I consider to be in the best interests of the children and morally right. As I only stopped the child joining in the lesson as a last resort, and it is something I would very rarely do (in fact that is the only occasion); I feel according to virtue ethics, considering my moral intentions, the action I took would have been morally and ethically right. 

I have found that a large amount of the fundamental principles of the 'CDET Code of Professional Conduct and Practice', interlink with the ethics of professional inquiry. Integrity, Objectivity, Confidentiality and Data Protection are just some of the components essential to both my professional practice and my professional inquiry. 'Work in a collaborative and cooperative mannor with other professionals'; this applies when I work with colleagues day-to-day and the way in which I conduct my inquiry will have to adhere to these ethics. 'Not attempt to influence or intimidate any examiner at any examination'; this is a ethical rule I adhere to my professional practice and also relates to my role as a researcher. As an insider researcher I must avoid influencing my participants by not asking leading questions and consider whether covert or overt observations would change or affect the outcome of my research/inquiry. 'Act in such a manner as to safeguard the interests and well-being of the children' and 'ensure that confidential information obtained in the course of professional work should not be disclosed without pupil or parent consent' ; are both codes of practice provided by 'The Council for Dance Education and Training'. These regulations closely relate to ethical standards of inquiry where participant's 'well-being' should be 'safeguarded', allowing them to voice opinions without being abused. Ensuring 'confidential information' isn't 'disclosed without consent' is obviously a very strict ethic I will consider in my inquiry; protecting the data I collect, not making it accessible to others and disposing of it at the end of my study. There are many more ethical standards of professional inquiry I will need to adhere to, and I am sure I will continue to become more aware of these and gain experience in dealing with them as I begin to conduct my research.

'Reader 5: Professional Ethics' along with a number of everyone's BAPP blog posts and debates I have had with friends and family regarding ethics; has given me so much to think about. Please let me know what you think about my connections between codes of practice in dance teaching and professional inquiry; and the theorectial ethical framework posed to us in the reader.........





 

Task 5b - Codes of Practice and Regulations

In my previous post, Task 5a, I stated what I initially thought were the codes and regulations regarding my professional practice; identifying their ethical values as personal, professional and/or organisational.

I have since consulted 'The Council for Dance Education and Training (CDET)' website, and researched it's code of conduct. The dance school I teach in is a registered 'British Theatre Dance Association (BTDA)' school; as BTDA is a Dance Awarding Organisation validated (accredited) by the Council, this is the recommended 'Code of Professional Conduct and Practice'.

The majority of the regulations I had covered, but I have listed a few regulations that I either didn't consider or that differ from my assumptions:

- Integrity
  - Work in a collaborative and co-operative manner with other dance professionals and       
    organisations
I had concentrated on the school as an independent establishment and  not considered the communication teachers encounter with other schools and professionals in and outside the organisation.

  - Not attempt to influence or intimidate any examiner at any examination or a judge at a competition.
To not adhere to this would be extremely unfair and unethical on a personal, professional and organisational level.

Publicity
Advertising isn't something I gave any thought to, however after reading this section of the code of practice I realised the promotion of a dance school has a lot of ethical implications to consider. There is a lot of reference made to being 'consistant with the dignity of the profession' and 'not making disparaging comparisons or depreciating the reputation of any colleague'. This lends itself to the codes regarding working cooperatively with other professionals. To tarnish or 'bad-mouth' another professional or their services in order to promote your business, is not only breaking a large number of regulations and acting completely unethically; but it would also appear very unprofessional, reflecting badly on yourself and your school.

Data Protection
The eight principles of the Data Protection Act 1998 are summarised in the code of practice. Confidentiality has been very poignant in the planning of my inquiry; the protection of collected data and the confidentiality of the participants. However the protection of data recorded by dance teachers concerning students isn't something I automatically considered. In regards to my professional practice, the data collected isn't always written or recorded; it may be observations made mentally or behaviour issues dealt with in a lesson. Even though this information does not refer to the personal data of a student e.g. medical conditions, etc ..  and disscussing it wouldn't necessarily break the Data Protection Act; it must always be dealt with confidentially e.g, not discussing the information with anyone (other than your employer of the relevant colleagues). To not do so would professionally unethical.

Statutory Requirements
Including: registration of names, tax, copyright, public performance etc... These requirements are in accordance to the law, and would be the same in any code of practice; all part of the professional ethical obligations that come with owning a business. Although these requirements don't come into the responsibilities of my role in my current professional practice; regarding my future career plans to own my own dance school, I would have to do extensive research into this area as I presently have very little knowledge in it.

The full code of practice I have been referring to can be found at:
http://www.cdet.org.uk/teaching-and-qualifications/code-of-conduct/

I found it really useful and it definatly made clear how the regulations provided can help create an ethically sound working environment. So check it out!!!

Is this similar to your 'Code of Practice'? Are there any areas you feel it doesn't cover? Are there any regulations you weren't aware you had to adhere to?  
Please comment and let me know what you think.....

Lizzie

Task 5a - Ethics within my Professional Practice

When teaching dance to children in a private dance school setting, there are a large number or personal, professional and organisational ethics which come into practice. Based on my own thoughts alone, without reference to any documents or discussions; here are my views on the ethics and 'codes of practice/regulations which guide the setting' (Module 2 BAPP Handbook, Middlesex University):

P - Personal Ethics (personal/family values, religion, conscience, morality ...)
PR - Professional Ethics (code of conduct, profession specific expectations ...)
O - Organisational Ethics (e.g. 'how things are done around here')

- Punctuality; always arriving before the children, in good time to set up and prepare for the class (P, PR,)
- Dressing appropriately (considering health and safety/ professional appearance) to teach a physical dance  
  class (P, PR, O)
- Reliable and conscientious; enthusiastic, friendly and approachable manor (P, PR)
- Having a qualification or proficient knowledge (to a high level/standard) in the dance discipline I am
  teaching (PR)
- Being aware of the health and safety procedures for the venue and organisation, e.g. fire exits, appropriate
  flooring, adequate ventilation/heating, toilet facilities, hydration breaks for children, etc... (PR, O)
- First-aid. Having a first-aid qualification myself (which I don't currently have) or knowing who the
  qualified first-aider on site is (PR, O)
- Being fully CRB checked if I am teaching a class independently (PR)
- Delivering a high standard of teaching so children are able to progress and improve (PR)
- Awareness of when/which children are struggling and offering appropriate support and coaching (PR)
- Communicating appropriately and professionally with children, parents and colleagues (P, PR)
- Inform my employer (owner of the dance school) of any social or welfare issues concerning a child I
  might be concerned about (PR, O)

One ethical issue that was brought to my attention recently was respecting the personal ethics of the children. The children were performing in the dance school's annual show and one of the performances was a
Sunday matinee. Due to one of the children's (and their family's) religious beliefs; Sunday being the sabbath day, for resting; she refused to perform in the Sunday show. Although this caused a lot of alterations and extra rehearsals for the teachers and other children (as the child was heavily involved in the show), as a professional I had to respect the child's and her family's personal ethics; reassuring them that it was not a problem and she could obviously still participate in the other performances. This involved personal, professional and organisational ethical consideration.

These are just my initial thoughts and the kind of regulations and ethical issues I come across day-to-day. Do you think there are any major factors I haven't considered? Are these the kind of ethics you pratice in your work?

This task and the information in the reader have really got my thinking about the correct policies and procedures relating to my professional practice. I will soon be starting to teach dance and movement in a huge range of primary schools (approx 32), so looking into relevant legislation and statutory sources will be something I will defiantly be doing!!! 

Let me know your thoughts .....

Task 4d - Award Title

I was very confused when I first saw that we had to propose an award title for our BA Hons. At this stage in my career my professional practice involves both performing and teaching; however given the opportunity I would choose performance over teaching. Then again in the future I hope to teach full-time. Am I confusing you how!?!?

The Module handbook recommends that we consider our existing knowledge (gained through our former training/work) and how this knowledge will be extended through completing the modules on BAPP. Fellow students have also highlighted the affect our plans for future careers may have on our award titles.

Therefore I have come to the conclusion that the majority of my life so far has been dedicated to training in Musical Theatre (not only my 3 years at Bird College, but the previous 15 years prior to that); and I plan to continue to perform in the Musical Theatre industry for a good few years to come. Although my inquiry is based around teaching, it is my knowledge and experience in Musical Theatre that has enabled me to approach the teaching aspect will such enthusiasm; and this enthusiasm and passion I encompass for Musical Theatre is what will drive my career forward whether that be in performance or teaching.

So .... my proposed award title is BA (Hons) Professional Practice in Musical Theatre.

As always, any comments or suggestions are very welcome. If you think I am thinking about my award title from the wrong perspective, or you could propose a more appropriate title I would appreciate your thoughts.

........ and just as a quick p.s - I know we all received emails form Alan regarding his 'Inquiry Headings doc' but it you haven't taken a look at it yet - DO! I found it really helpful!!!!!

Task 4c - Developing Questions

I initiated the general topic of my inquiry as 'Teaching Dance to Young Children' - this is the name I have given to the SIG group myself and Jo Bradley have created on Facebook (check it out and join if you think you have a similar interest!!!) I have since discussed (albeit quite briefly) my set of general questions with BAPP students, close friends from Bird College, my mum (a primary school/P.E & Dance teacher) and  fellow dance teachers I have previously worked with. This has helped me to develop a more specific line of inquiry which I feel will be really beneficial for myself and my future career, as well as others.

My proposed line of inquiry is...

'What makes an inclusive dance teacher; how can you cater to all abilities within a dance/musical theatre class?' 

This question is still obviously open to being changed, adapted, reworded, etc... What are you thoughts? Is it too broad or too specific? Can I word it more effectively? Any suggestions would be greatly appreciated .....

Task 4a continued .... Asking my Mum!

After discussing my first set of inquiry questions with numerous fellow students on BAPP and a few close friends with whom I trained professionally; I decided to get a different perspective on them. My mum has taught P.E and dance at secondary level, run extra curricular dance and gymnastic clubs for many years and currently teaches Foundation Stage (4-5 yr old) but has taught all primary years, specialising in P.E and dance. So she has a good insight into some of my questions. Here are a few of her thoughts .....

(I recorded my mum's answers in note form so have written them up incorporating all her key words and opinions)

- Is dancing from a young age a good way to instill discipline into children? Does it have an impact on their behaviour in other areas of life?
I see first hand the impact dance training has on the behaviour of young children. I am aware of the children in my class/year group that dance outside of school and in my experience they tend to follow instructions better and react more naturally to structure. In terms of physicality they have noticeably better timing in P.E Dance lessons, but in general their behaviour isn't necessarily superior.

- Does attending dance/musical theatre lessons provide children with more confidence?
In terms of movement based confidence, the children who attend dance/musical theatre classes, are more bodily and spacially aware and more comfortable and capable to demonstrate in class. However in general I think it is the children's natural personality traits that depict their level of confidence.

- The more committed and enthusiastic the parents; the more committed and enthusiastic the child?
I answer this question form two points of view - 1. as a teacher, and 2. as the parent of a child who has always been heavily involved in dance and all it's commitments. As a young child I think without a certain level of commitment from the parent/s there is no opportunity for the child to become committed or enthusiastic themselves. For example if the parents aren't willing to take the child to class or competitions, pay for classes and exams, etc.... the child isn't given the chance to become committed. However as the child gets older if the parent becomes too enthusiastic or pushy it can overwhelm the child and become pressurising therefore killing their passion and enjoyment. I think it should always be the child that initiates the enthusiasm and interest, and the parent who supports it.

- Are more academic children more likely to be better dancers/performers?
At a very young age I would say yes. When running dance clubs for young children or even dance within the P.E curriculum it does tend to be the more academic children that remember movement sequences, adapt and correct their movements when instructed, pick up basic movements quicker. BUT ... these are just the basic skills when starting to learn dance, so as the children get older they isn't as much of a correlation between the academic capability and the likely hood of them being a better dancer.   


- How do you keep children coming to class and keep them enthusiastic about what they're doing?
In general these are the things I do when teaching anything to keep interest and enthusiasm:
Use variety (also change the order of doing things), apply the exercises you practice (e.g: dance - incorporate them into routine), ensure they are ready to pass the exams they are entered for so they are able to succeed, value them as people and ALWAYS keep a level of positivity.


- Is it sometimes a good idea to have mixed ability classes? Does this give the weaker children more to aspire to or make them feel intimidated? Would they work harder to improve of fall behind?
With mixed ability it is harder to cater to every child's need. Although with dance it is very visual, so having children in the class who can perform the movements well can set a good example for weaker children. I would always have a class where the ability is in reach though - for a child to constantly see a level of ability they would never physically be able to achieve maybe frustrating or intimidating. Always expect more and the children will achieve higher. 


- As a teacher should you push children you see potential in or treat every child equally?
Within schools there is a massive emphasis on 'Gifted and Talented' - recognising talent and pushing and nurturing the very able children (whatever their talent may be). Not pushing high achievers or potential high achievers often results in them becoming bored. They tend to benefit more from opportunities you can give them as they are better equipped to gain from experiences. Although, I would always treat everyone equally as an individual and value every child.

I don't know whether you may find any of these ideas useful, but it was really interesting for me to recieve thoughts from someone with different (and alot of) experience, to others I have posed my questions to so far.

Task 4b - SIG

Hey everyone I have just set up a SIG on Facebook titled 'Teaching Dance to Young Children'. I thought facebook was an ideal wiki to use as we are all very familar with it and access it alot - so we'll be prompted to check the activity of the group on a regular basis.

I don't have many 'BAPPers' as friends on facebook so please request me (Lizzie Wright, from Leicestershire, Bird College Graduate) and join the group if you think it will be relevant to your inquiry.

I have posted my set of general questions on there from my blog just as a starting point for discussion.

Would love for people to join as I'm sure it will be really helpful for all of our work, opinions, advice, relfection etc... to be in one easily accessible place : )

Lizzie x  

Module 2: Principles of Professional Inquiry - Task 4a

After reading through Reader 4 and attempting to brainstorm some ideas and issues for inquiry, I found myself torn as to which avenue to take. I am both a teacher and performer. Looking at my career at present and on a short-term basis, although I am still teaching, my priority lies with performance opportunities; however in the future I plan to commit fully to teaching and owning my own dance school business.

Through reading other's posts and the related comments and advice I understand we should avoid looking too far into future plans regarding issues and inquiry. But for me teaching is a constant in my currently unpreditable life. Although an inquiry into the performance element of my practice would help 'to  

investigate and sustain successful practice or define more personal issues';I feel sometimes in the performance industry there is no rhyme or reason to how, when, why or who gets a job. From personal and second-hand experience it can be the most trivial of reasons. I have however decided to use my professional training and performance experience to 'look at my (teaching) practice in a new way' and steer my inquiry in the teaching direction. I feel the 'solutions' and clarity that may result from an inquiry in this area would prove more useful to my professional practice and hopefully may provide new ways of approaching my peformance practice too. 

Here are a list of questions that sprung to mind:

- Is dancing from a young age a good way to instill discipline into children? Does it have an impact on their
behaviour in other areas of life?

- Should the emphasis in dance teaching be steered more toward technique or performance and personality?

- Can performance be taught or is it a natural talent?

- Does attending dance/musical theatre lessons provide children with more confidence?

 - The more commited and enthusiastic the parents; the more commited and enthusiastic the child?

 - Does attending a fulltime stage/dance school improve a child's opportunity for a successful performing career?

- Are more academic children more likely to be better dancers/performers?

- How do you keep children coming to class and keep them enthusiastic about what they're doing (especially when practicing grade and syllabus work)?

- Is exam and syllabus work vital to improving childrens tehnique? How do you keep them motivated when they are a long way from achieving their next exam?

- How many children ever actually reach their full potential?

- Is it sometimes a good idea to have mixed ablility classes? Does this give the weaker children more to aspire to or make them feel immidated? Would they work harder to improve of fall behind?

- As a teacher should you push children you see potential in or treat every child equally?

- Is it enevitable you will have pupils who are favourites? Will children pick up on this?

These are my intial thoughts anyway. Has been really helpful and and got my thinking reading all your posts.

Pleeeeaaaassssee comment and let me know what you think!!!

  

New Year ...New Module!!!

Well Christmas hols are over - I've just downloaded all of the Module 2 resources and I'm ready to get started!!! Actually quite looking forward to a new challenge (a tad more clued up now than I was at the start of the Module 1). So Happy Newyear to everyone and heres to a good term of work : )!!!