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ENGLISH LITERATURE UNIT: POETRY

Topic or Theme: Creative Writing

Literature or text type/s: Free verse and shape poetry Year level: 6

The Literature Strand of the AC: English: involves understanding, appreciating, responding to, analysing and creating literature.

Year 6 Achievement Standard

1.1.1.1.1 Receptive modes (listening, reading and viewing)

By the end of Year 6, students understand how the use of text structures can achieve particular effects. They analyse and explain how language features, images
and vocabulary are used by different authors to represent ideas, characters and events.

Students compare and analyse information in different and complex texts, explaining literal and implied meaning. They select and use evidence from a text to
explain their response to it. They listen to discussions, clarifying content and challenging others ideas.

1.1.1.1.2 Productive modes (speaking, writing and creating)

Students understand how language features and language patterns can be used for emphasis. They show how specific details can be used to support a point of
view. They explain how their choices of language features and images are used.

Students create detailed texts elaborating on key ideas for a range of purposes and audiences. They make presentations and contribute actively to class and
group discussions, using a variety of strategies for effect. They demonstrate an understanding of grammar, and make considered vocabulary choices to enhance
cohesion and structure in their writing. They use accurate spelling and punctuation for clarity and make and explain editorial choices based on criteria.
(ACARA, 2016).

Learning intentions (What new knowledge or skills will students have as a result of engaging with this learning?, you can use the Four
Resources model and/or content descriptors to think this through):

This is the first unit of two I will attempt to teach on poetry whilst on placement. This unit is experimental, taking an analytical approach
to poetry rather than a traditional crafting approach. The unit aims to provide a foundational understanding of the tools utilised in well
written poetry through close readings of poetry, and the effective practise of poetic language. The idea behind this is to deliver poetry
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in an enjoyable and abstract way, engaging students in a way different to previous schooling experiences in which poems are simply
modelled by the teacher and regurgitated by the student. It will provide students with flexible knowledge capable of being applied not
only in the area of poetry, but other aspects of their literacy as well, in a manner that is applicable to lifelong learning. The second unit,
which is mentioned here only to give context, will look at the application of this theoretical understanding in the creation of a
multimodal portfolio of poetic works, through the exploration of different types of poetry. Well written and clear

By the end of the unit, students will understand how text structure, and portrayal of poetry by the author achieves a
particular wanted effect through a code breaking role. Students will look at how poems are presented graphically and the
resulting image of individual poems as art, rather than just a literary piece.
Students analyse language features and imagery in poetry through critical thinking, and explore vocabulary uses to
represent ideas or a particular stance in a poetic manner. Through a text analyst role, students look to the implied meaning
by poetry on the whole as a form of art, taking an active part in class discussions and challenging one anothers ideas
based on their own, independent interpretation.
Students understand the role of language features and patterns with regards to emphasis, and how poetry is a specific
choice of words in a specific order to support the overarching view that the poem endorses. This analysis of deeper
thought and the resulting position of the reader are explored and interpreted as text participants, using their own
experiences to reflect on the position the poem puts them in as an individual.
Students will gain an understanding of grammar and vocabulary choices which enhance their writing on the whole, and
explore how word choices can affect a piece of writing, particularly poetry, on the whole. As text users, students will look
at the deeper purpose of poetic texts.sounds good
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WEEKLY TIMETABLE:

At the current moment in time,-currently the timetable of classes for term 2 is unknown to me. As a result, I have planned around the
current timetable for term 1, as shown above. Assembly occurs every second week, meaning that Literacy on a Friday alternates.

PLEASE NOTE: The school for which this unit plan was designed to be implemented within currently has access to minimal
technology. Earlier this year the school was broken into and raided. The majority of technology was either stolen or destroyed. As a
result the classroom in which the unit has been planned around does not contain a smartboard, or any form of technology with the
exception of the Teachers own desktop computer. Due to damage, this computer is unable to connect to the network and is not able
to be utilised, it is merely a remnant of a previous time. As a result of this situation, there is no use of technology in the
implementation of this unit. How awful - ok.
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SEQUENCING lessons
Unit AC: English LINKS:
Week Flow General Capabilities
Lesson Focus and Activity Resources to be used
Cross-curriculum Priorities
Curriculum Integration
Lesson 1: Introduction to Poetry The Raven by Edgar Allan Literacy
1 Lesson one introduces poetry to students through Edgar Allan Poes The Raven. This Poe

T narrative poem bridges last terms topic of narratives to the current topic of poetry. A3 paper
E Students will then complete an array of group activities to display their current Post it notes
A understanding and knowledge of poetry. This information will not only be displayed on
C
H
the classroom to signal the beginning of the learning journey (to later be reflected upon),
but is a diagnostic assessment tool for the unit. It will determine how long the class
spends on future tasks such poetic techniques, musical tools, etc. good
Lesson 2: An array of shape poems Literacy
2 E This lesson looks at teaching students how to analytically read poetry. It poses poetry in (see attached lesson plan). Critical and Creative thinking
X the same light as works of art and students look at poems from not only a literary
P perspective, but from a visual perspective too. It teachers students to read the entirety of
L
O
a poem, from its presentation to deeper meanings. It presents a variety of concrete
R shape poems to the students, enticing them with specific graphical presentation to
E provide an additional level to mere words on a page. Students will deeply analyse the
poems as they are presented, both in a visual, and a verbal aspect.
G
R Lesson 3: The Wooded World by Literacy
3 O Lesson three sees students looking at figurative language within poetry, specifically Sheila Visingardi Critical and Creative thinking
U personification, similes and metaphors. The lesson removes students from the classroom
P environment and outside into nature. Students will look at describing their surroundings

I through figurative language, with the example of The Wooded World by Sheila Visingardi
N to demonstrate such use in nature. Students will then create their own sentences/
D phrases demonstrative of poetic language, using metaphors, similes and personification
I to describe their surroundings. Well done relevant and should be interesting
V
D Lesson 4: Song of the Train by David Literacy
4 U The fourth lesson looks at the musical tools at a poets disposal. It covers a range of McCord Critical and Creative thinking
A musical attributes utilised in creative writing, such as alliteration, assonance, consonance The Mourning Rush by
L and onomatopoeia. Song of the Train by David McCord will be read to students, and they John Foster
will uncover the many musical layers that provide the heart of the poem. To conclude
the lesson, John Fosters The Mourning Rush will be read and explored through different
musical styles.good build on prior
Lesson 5: Attached Rubric Literacy
5 The penultimate lesson looks at applying the amassed knowledge so far into students Critical and Creative thinking
own poems. Students will look to create short works of poetry utilising the knowledge
they have learnt. They are free to choose the topic of their poem, however they are to
keep in mind that they will be creating shape poems. This task is not to be completed
only within only the class time of this lesson, however, but as homework and over a
period of two lessons worth of time.
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Lesson 6: Concluding Activities Literacy

6 The first half of this lesson will be spent peer assessing against the assessment rubric all Critical and Creative thinking
students received in the previous lesson. In the latter half of the lesson, students will Personal and social capability
return to the guiding that questions that were first posed to the students within the class.
Again, they will collectively answer the guiding questions free from teacher involvement,
to provide an accurate representation of what they have actually learnt.
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LESSON #1
BIG IDEA: Literature or text type Year Level:
What is Poetry? Poetry 6

AC: English Standard:(paraphrase relevant)

Students compare information in different texts, explaining meaning.
Students take part in discussions, clarifying content and challenging others ideas.
Students use accurate spelling and punctuation for clarity and make and explain choices based on criteria. (ACARA, 2016)

AC: English content descriptors (secondary, helps you think about how you will meet the standard)
Identify the relationship between words, sounds, imagery and language patterns in narratives and poetry such as ballads, limericks and free verse
(ACELT1617)

Lesson Outcome/intentions: (Within the unit what particular skills or knowledge are focussed on in this lesson?)

This first lesson intends to introduce the topic of poems in an interesting and enjoyable way. The outcome of this lesson is to gain a tangible
understanding of students current knowledge regarding poetry, so as to better deliver the remainder of the unit.

What will students produce?

As a class, students will produce multiple brainstorm/ mindmap of what poetry is to them, as well as contribute to the classs poetry thought
board.

Code-breaker The emphasis is on decoding and encoding the codes, symbols and
conventions of written, spoken, visual and multimodal texts in response to
contextual factors.
Students will use prior knowledge to display their understanding of the role of poetry as a
literary art, and demonstrate particular conventions native to poetry.
Text user The emphasis is on understanding the purposes of different written,
spoken, visual and multimodal texts and using texts in different ways for different
cultural and social functions. Good use of model
Text participant The emphasis is on comprehending and composing or
making meaning from written, spoken, visual and multimodal texts.
Students will identify what poetry means to them, as individuals.
Text analyst The emphasis is on understanding that written, spoken, visual and
multimodal texts are not neutral but represent particular points of view and
silence others.

Students will use their prior knowledge of poetry to answer the questions regarding its Students will portray their understanding of poetry comparative to what it means
purpose and function. to them.
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How will I do this?

Lesson Outline:
Explain to students that this term we will be moving away from narratives, and be looking towards a new unit of inquiry within English. The
teacher will then proceed to read either an excerpt, or the entirety of The Raven by Edgar Allan Poe to the class (it is recommended to read the
first three stanzas, and ask the class if they wish to continue listening, or use judgement to decide). Enthusiasm and great modelling of poetic
reading are key here to ensure student engagement. If a positive learning environment is provided promoting the enjoyment of poetry, the
class is less likely to perceive the topic of poetry as unenjoyable and boring.

Having read the poem, ask students what they noticed about this poem. Did it still tell a narrative? Yes, because it is a narrative poem. This will
guide the class onto the topic of what is a poem, and students will, in their table groups, come up with a brainstorm/ mind map answering one
of four questions presented upon an A3 piece of paper to each group. This pieces of paper will cycle around the classroom after a period of
time, until all four of the class tables have taken part and provided insight into the thoughts surrounding the questions posed. The individual
questions present on each different A3 piece of paper are as follows: What is Poetry?, How do you read poetry?, What makes for good
poetry?, and Why do we read poetry?

It is important that students are made aware that poetry is entirely interpretive, and as a result, there are no wrong answers. Students will be
given ten minutes to complete the first iteration of the activity, and then they will swap. They will be given eight minutes for the second iteration,
six for the third, and only four for the last iteration.

To conclude the lesson, students will verbally give an adjective describing poetry.
Building the field: Teaching and Learning cycle, What key things do students need to know about genre or topic? Model, Group or
independent rehearsals?

This lesson aims to introduce students to poetry through Edgar Allan Poes The Raven. The lesson itself looks for answers with regards to
where are my students now?, and setting the context and building the field. It utilises student explanation so that as the teacher gets a solid,
fundamental idea of students understanding as an independent collective, with minimal teacher interference.

Resources: (List what you will need to have on hand for your lessons and organisational matters)

A copy of Edgar Allan Poes The Raven (attached)

A3 paper
Teaching Strategy/Learning Activity:
(Ask yourself, What will challenge or support the students to learn the concepts Im trying to teach? What will the students be doing? What will
I as teacher be doing?)
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The role of the teacher within this lesson is to facilitate discussion and model good poetry reading through careful attention to punctuation. It is
therefore recommended the poem is read multiple times prior by the teacher, to ensure they model poetry reading well. Students as a
collective will be demonstrating their knowledge of poetry through the graphical representation of mind maps used to summarise the diagnostic
questions set. It is important that during this step students provide an authentic representation of their knowledge, with minimal teacher input,
else the diagnostic assessment this lesson revolves around is inaccurate. The learning activities have students working collaboratively and
productive to demonstrate their current level of understanding.

Pre or post assessment strategies:

(Ask yourself, How do I know at which level to start? peer/self asses built in? How could I capture the main learning points? How do I know
students have got it?)

This lesson itself is a diagnostic assessment tool for the remaining lessons. The idea is to dip students toes into the pool of poetry and
discover the areas students need to work most upon to achieve the desired learning outcomes. Your words ?good point though
Any special considerations: (Consider the students with special needs or the particular needs of your class or school)

There are multiple students within the classroom with ASD, however, this lesson is designed as a diagnostic assessment to perceive the
current level of knowledge the class possess regarding general poetry knowledge. This being the case, the only worry is that not all students
would partake in the group activities resulting in only a partial image of the groups true knowledge with regards to poetry. In response to this, it
is suggested that the teacher floats around the classroom to help provoke and encourage student participation. As part of this step, it is
important that all students are unafraid to take risks and put forth their views. Yes may need support
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The Raven
By Edgar Allan Poe

Once upon a midnight dreary, while I pondered, weak and weary,

Over many a quaint and curious volume of forgotten lore
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
Tis some visitor, I muttered, tapping at my chamber door
Only this and nothing more.

Ah, distinctly I remember it was in the bleak December;

And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow;vainly I had sought to borrow
From my books surcease of sorrowsorrow for the lost Lenore
For the rare and radiant maiden whom the angels name Lenore
Nameless here for evermore.

And the silken, sad, uncertain rustling of each purple curtain

Thrilled mefilled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating
Tis some visitor entreating entrance at my chamber door
Some late visitor entreating entrance at my chamber door;
This it is and nothing more.

Presently my soul grew stronger; hesitating then no longer,

Sir, said I, or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard youhere I opened wide the door;
Darkness there and nothing more.

Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortal ever dared to dream before;
But the silence was unbroken, and the stillness gave no token,
And the only word there spoken was the whispered word, Lenore?
This I whispered, and an echo murmured back the word, Lenore!
Merely this and nothing more.

Back into the chamber turning, all my soul within me burning,

Soon again I heard a tapping somewhat louder than before.
Surely, said I, surely that is something at my window lattice;
Let me see, then, what thereat is, and this mystery explore
Let my heart be still a moment and this mystery explore;
Tis the wind and nothing more!

Open here I flung the shutter, when, with many a flirt and flutter,
In there stepped a stately Raven of the saintly days of yore;
Not the least obeisance made he; not a minute stopped or stayed he;
But, with mien of lord or lady, perched above my chamber door
Perched upon a bust of Pallas just above my chamber door
Perched, and sat, and nothing more.

Then this ebony bird beguiling my sad fancy into smiling,

By the grave and stern decorum of the countenance it wore,
Though thy crest be shorn and shaven, thou, I said, art sure no craven,
Ghastly grim and ancient Raven wandering from the Nightly shore
Tell me what thy lordly name is on the Nights Plutonian shore!
Quoth the Raven Nevermore.
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Much I marvelled this ungainly fowl to hear discourse so plainly,

Though its answer little meaninglittle relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blessed with seeing bird above his chamber door
Bird or beast upon the sculptured bust above his chamber door,
With such name as Nevermore.

But the Raven, sitting lonely on the placid bust, spoke only
That one word, as if his soul in that one word he did outpour.
Nothing farther then he utterednot a feather then he fluttered
Till I scarcely more than muttered Other friends have flown before
On the morrow he will leave me, as my Hopes have flown before.
Then the bird said Nevermore.

Startled at the stillness broken by reply so aptly spoken,

Doubtless, said I, what it utters is its only stock and store
Caught from some unhappy master whom unmerciful Disaster
Followed fast and followed faster till his songs one burden bore
Till the dirges of his Hope that melancholy burden bore
Of Nevernevermore.

But the Raven still beguiling all my fancy into smiling,

Straight I wheeled a cushioned seat in front of bird, and bust and door;
Then, upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore
What this grim, ungainly, ghastly, gaunt, and ominous bird of yore
Meant in croaking Nevermore.

This I sat engaged in guessing, but no syllable expressing

To the fowl whose fiery eyes now burned into my bosoms core;
This and more I sat divining, with my head at ease reclining
On the cushions velvet lining that the lamp-light gloated oer,
But whose velvet-violet lining with the lamp-light gloating oer,
She shall press, ah, nevermore!

Then, methought, the air grew denser, perfumed from an unseen censer
Swung by Seraphim whose foot-falls tinkled on the tufted floor.
Wretch, I cried, thy God hath lent theeby these angels he hath sent thee
Respiterespite and nepenthe from thy memories of Lenore;
Quaff, oh quaff this kind nepenthe and forget this lost Lenore!
Quoth the Raven Nevermore.

Prophet! said I, thing of evil!prophet still, if bird or devil!

Whether Tempter sent, or whether tempest tossed thee here ashore,
Desolate yet all undaunted, on this desert land enchanted
On this home by Horror hauntedtell me truly, I implore
Is thereis there balm in Gilead?tell metell me, I implore!
Quoth the Raven Nevermore.

Prophet! said I, thing of evil!prophet still, if bird or devil!

By that Heaven that bends above usby that God we both adore
Tell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels name Lenore
Clasp a rare and radiant maiden whom the angels name Lenore.
Quoth the Raven Nevermore.

Be that word our sign of parting, bird or fiend! I shrieked, upstarting

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Get thee back into the tempest and the Nights Plutonian shore!
Leave no black plume as a token of that lie thy soul hath spoken!
Leave my loneliness unbroken!quit the bust above my door!
Take thy beak from out my heart, and take thy form from off my door!
Quoth the Raven Nevermore.

And the Raven, never flitting, still is sitting, still is sitting

On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demons that is dreaming,
And the lamp-light oer him streaming throws his shadow on the floor;
And my soul from out that shadow that lies floating on the floor
Shall be liftednevermore!

("The Raven by Edgar Allan Poe", 2017)

The Raven by Edgar Allan Poe. (2017). Poetry Foundation. Retrieved 10 April 2017, from do you think it is
the best choice ?https://www.poetryfoundation.org/poems-and-poets/poems/detail/48860

Did you choose this chllengig piece for a reason ?

Will it resonate?
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LESSON #2
BIG IDEA: Poetry is art Literature or text type Shape poems (concrete Year Level: 6
poems)
AC: English Standard:(highlight relevant)
1.1.1.1.3 Receptive modes (listening, reading and viewing)

By the end of Year 6, students understand how the use of text structures can achieve particular effects. They analyse and explain how language features,
images and vocabulary are used by different authors to represent ideas, characters and events.

Students compare and analyse information in different and complex texts, explaining literal and implied meaning. They select and use evidence from a text to
explain their response to it. They listen to discussions, clarifying content and challenging others ideas.

1.1.1.1.4 Productive modes (speaking, writing and creating)

Students understand how language features and language patterns can be used for emphasis. They show how specific details can be used to support a point of
view. They explain how their choices of language features and images are used.

Students create detailed texts elaborating on key ideas for a range of purposes and audiences. They make presentations and contribute actively to class and
group discussions, using a variety of strategies for effect. They demonstrate an understanding of grammar, and make considered vocabulary choices to
enhance cohesion and structure in their writing. They use accurate spelling and punctuation for clarity and make and explain editorial choices based on
criteria.

This lesson has been chosen to demonstrate an in depth receptive learning experience.
AC: English content descriptors (secondary, helps you think about how you will meet the standard)
Analyse and evaluate similarities and differences in texts on similar topics, themes or plots (ACELT1614)
Identify the relationship between words, sounds, imagery and language patterns in narratives and poetry such as ballads, limericks and free verse
(ACELT1617)
Analyse how text structures and language features work together to meet the purpose of a text (ACELY1711)

Lesson Outcome/intentions: (Within the unit what particular skills or knowledge are focussed on in this lesson?)

Although only planned as one lesson, a flexible approach to how long the learning takes will be utilised.good Therefore, dependent on how
much is covered in the teaching of this lesson, additional time on the subject of this lesson may be required. This may be a results of the
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diagnostic brainstorms/ mind maps in the previous lesson, as this lessons scope may be too broad for the time allowance of a single lesson. If
this is the case, the lesson will just roll over into the next literacy time slot, and that will not be an issue.

The learning intention for this lesson is teach students how to read poetry, recognising that how we read poetry differently to how we read
fiction. This requires not just looking at poetry in terms of words, but the way in which it is presented on the whole, from looking at the way it
has been laid out upon the page, to what is brings collectively as a piece of art.

What will students produce?

Students will complete their first close reading of a poem in the form of dot points, and a short description of how to read a poem in its entirety
in the form of a literacy journal entry. This is to be handed up at the end of the lesson.

Code-breaker The emphasis is on decoding and encoding the codes, symbols and
conventions of written, spoken, visual and multimodal texts in response to
contextual factors
Students will look into the array of properties poems bring to the table, and respond to
the bigger picture that the individual poem brings. They will look at the entirety of poem,
including all modal aspects and make judgement and interpretations.
Text user The emphasis is on understanding the purposes of different written,
spoken, visual and multimodal texts and using texts in different ways for different
cultural and social functions
Text participant The emphasis is on comprehending and composing or making
meaning from written, spoken, visual and multimodal texts
Students will look at poems not just as words, but as a literary forms of art.
The will attempt to interpret, comprehend and make meaning of the entirety of
the poem as it is displayed and presented. The will make meaning from both the
visual and verbal aspects of the texts, interpreting the written and oral poetry
experience.
Text analyst The emphasis is on understanding that written, spoken, visual
and multimodal texts are not neutral but represent particular points of view
and silence others

Students will seek understanding as to why the poem is presented in the manner the Students will analyse the poems they are given in an attempt to see and
author choses to present it. They will attempt to interpret the purpose of the individual interpret the particular viewpoint or bias that the poem brings as a piece of art.
poetry experience created by the author, and later use this knowledge in the creation of They will look into the visual, written and oral aspects of the poem and attempt to
their own poetic works. analyse why the author chose to portray their poem in such a way. Well done
How will I do this? How did you use the information from last lessons assessment ?
Lesson Outline:
Introduction: (How best to motivate and explain the importance of these lessons. i.e. connected to artefacts from home)
Explain to the class that today the focal point will be how to read poems, and tell the class that todays learning objective is to learn how to
effectively read poems. This is worth writing on the white board also.

Hand out the shape poems attached (ensure they are large enough for students to view and read clearly). There should be enough for at least
one upon each table, with certain tables utilising more than one poem, no less than two students to a poem). This activity looks at the first step
of reading a poem, reading with your eyes. Ask the students to, without actually reading the poem, to read it as a whole. Students are to
collaboratively make notes as to what they see when they look at the poem, they are to jot down their first impressions and what the poem
looks like visually. They are not looking it at it as a piece of writing, but rather as they may look at artwork, sculptures or photographs. They are
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looking at the presentation, prompting to see how it is laid out on the page, the line length, its formatting, etc. Prompt students by asking if the
text is portrayed in a particular way. This question relates to what students see when they look at the poem.

Next, students will read the poem with their ears. They will read the poem given to them aloud within their group. Students are to read the
poem multiple times, deciphering the intended rhythm, the interpreted pace and the sounds of the words. Explain that we are looking to hear
poetry I a manner similar to the way we listen to music. It should be enjoyable to read, and to hear. They will then take notes regarding this
verbal experience, in a similar fashion to the previous notes made on the visual aspect.

Having read our poems and been allowed to interpreted them independently, students will next respond to them. They will discuss the unique
nature of the poem, jotting down the distinctive character it brings. Are there any focal points of description? Is there an underlying idea or
emotion? How does the poem make you feel? These are questions the teacher should pose to the students, and facilitate group discussion
surrounding them.

Lastly, students will think about what is general about the poem. Are there any common features they notice within the poem? Remind them
that they were shaped purposely, and concentrated in their attention, concerned with keeping thinking and feeling coherent. End by reminding
students that poetry is the best words in their best order

To conclude the lesson, students will complete a literary journal entry explaining in their own words how to describe how to read poetry. This
can be in dot form.
Building the field: Teaching and Learning cycle, What key things do students need to know about genre or topic? Model, Group or
independent rehearsals?

This teacher led deconstructive stage looks to model the tools necessary to for students to eventuate into successful poets. Through a capable
capacity to deconstruct the poems in multiple aspects, students will build upon their field of knowledge in an iterative process to further develop
control over language. Teaching modelling of the process is a method of scaffolding for students, providing a prosperous field of knowledge for
students to develop. This deconstruction will be useful to students later on when they independently review their own work, and peer review
other students work.

Resources: (List what you will need to have on hand for your lessons and organisational matters)

Shape poems (an array of these have been attached)

Teaching Strategy/Learning Activity:
(Ask yourself, What will challenge or support the students to learn the concepts Im trying to teach? What will the students be doing? What will
I as teacher be doing?)
 15

The stating of a clear learning goal at the beginning of the lesson promotes the high expectations held of the students, and ensures all
students are clear as to the learning outcome of the lesson. Through this transparency, the class, teacher and students, are able to focus every
aspect of the lesson on the achievement of its actual purpose. Teacher facilitation of the productive grouped learning activity means that all
student interpretation are independently sought, allowing students to make connections and self-verbalise any problems they encounter. It
open students to meta-cognition in the thinking of their options, choices and results through their interpretations. The nature of the step by step
learning activity lends to dependency, however, the teaching of strategies to interpret rather than simple context promotes productive cohesion,
and practise toward the learning goal of effective poem reading. The time flexibility in how long the subject matter takes to learn lends to a
more complete learning experience. The learning goal remains untouched, but by removing the pressures on students to succeed within a
shorter time frame it promotes a healthy learning environment, allowing for sufficient exploration and practise the premise behind learning
mastery.

Pre or post assessment strategies:

(Ask yourself, How do I know at which level to start? peer/self asses built in? How could I capture the main learning points? How do I know
students have got it?)

The previous lesson in this unit will act as a diagnostic assessment tool to understand how in depth the majority of this lesson is required to be.
The entirety of the lesson is built around the goal of learning how to effectively read poetry as a multimodal art form, and whether this goal has
been achieved will be known after the lesson, through the viewing of the students literacy journal, in which the poem, their notes on reading,
and their description on how to effectively read a poem are contained. good

Any special considerations: (Consider the students with special needs or the particular needs of your class or school)

There are multiple students within the classroom with ASD, and this has been recognised when planning the lesson. As a result, the level of
scaffolding for these students, as well as others, will be made available. This will come in the form of a localised focus group within the
classroom. The teacher would be wise to write down the major steps on the board for all students to refer to throughout the learning activity.
Certain students (two in particular) may be opposed to working dependent on their home life situation. This is to be managed by providing a
safe learning environment in which they can explore and read the poetry at a level comfortable to them, and in a time frame reflective of their
mind state. They will not be ushered through work, however, they will be prompted positively and encouraged to do the best they can. Given
their situation, the priority for these students is to provide refuge. Ok do they have a time out if required
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The pomes are well chosen and they should enjoy them ! good choice

LESSON #3
BIG IDEA: Literature or text type Year Level:
Figurative language Free verse poetry 6
AC: English Standard:(paraphrase relevant)
Students analyse and explain how language features and vocabulary are used by different authors to represent ideas, characters and events.
Students analyse information and explain literal and implied meaning.
Students listen to discussions and clarifying content.
Students understand how language features and language patterns can be used for emphasis.
Students contribute actively to class and group discussion. (ACARA, 2016)
AC: English content descriptors (secondary, helps you think about how you will meet the standard)
Identify and explain how choices in language, for example modality, emphasis, repetition and metaphor, influence personal response to different texts
(ACELT1615)
Identify the relationship between words, sounds, imagery and language patterns in narratives and poetry such as ballads, limericks and free verse
(ACELT1617)

Lesson Outcome/intentions: (Within the unit what particular skills or knowledge are focussed on in this lesson?)

By the end of this lesson, all students will be capable of using personification, metaphors and similes to describe their surroundings. They will
know the difference between metaphors and similes, and be able to apply them in real world scenarios, and they will know that figurative
language is language enriched by word images and figures of speech.

What will students produce?

Students will produce a wide array of metaphors, and similes to describe a multitude of objects, as well as produce some sentences/ phrases
personifying different things.

Code-breaker The emphasis is on decoding and encoding the codes, symbols and
conventions of written, spoken, visual and multimodal texts in response to
contextual factors
Students will work backward from symbols and imagery to create similes, metaphors and
to personify their surroundings.
Text user The emphasis is on understanding the purposes of different written,
spoken, visual and multimodal texts and using texts in different ways for different
cultural and social functions
Text participant The emphasis is on comprehending and composing or
making meaning from written, spoken, visual and multimodal texts.
Students make meaning from written and spoken texts relating to similes, and
Metaphors. They understand the comparison is figurative, rather than literal, and
used to help the reader comprehend the imagery and native of the subject.
Text analyst The emphasis is on understanding that written, spoken, visual
and multimodal texts are not neutral but represent particular points of view
and silence others.
 22

Students look to build understanding as to the purpose of figurative language, and learn Students will use figurative language to represent their particular view on the
how to effectively use it to enhance their own descriptive text. world as they see it.
How will I do this?
Lesson Outline:
Introduction: (How best to motivate and explain the importance of these lessons. i.e. connected to artefacts from home)

This lesson, the class will head outside for a change of scenery. Once outside, explain that the focus point of the lesson is figurative language,
explaining that figurative language is language enriched by word images and figures of speech. Students will sit on the grass (providing it isnt
wet) and the teacher will position themselves so that the trees at the outskirts of the school are in behind them, for the students to see. My
Wooded World by Sheila Visingardi (attached) will then be read to the class twice over, with time after each reading for the students to think
about the verbal experience. Good makes it more interesting and meaningful

The teacher will then ask students to look specifically at the figurative language within the poem, prompting for language that brought imagery
to mind. If needed, point students in the direction of particular lines such as, branches would open as if to hold me. Ask students whether or
not the trees branches could actually open to hold her? Explain that this is a prime example of personification, as the tree has been given
human properties. Tell students to then look around and absorb the visual aspects of their surroundings. Give them some time to discuss as a
group whether or not they are able to personify the environment.

Pay attention to discussion in case any students use similes or metaphors, and if so use that as an example to bridge towards them. Ask
whether or not anyone within the class knows what a simile is? Chances are someone does, and take this opportunity to reiterate it to the
class, explaining that it is a comparison between two things not usually linked using the words like or as. Give an example relating to the
surroundings.

Introduce the similar concept of metaphors, explaining that similarly metaphors link two subjects that are not usually linked. They are different,
however, in that rather than a simple comparison, a metaphor states that the two objects are the same or equal, effectively giving one objects
the attributes of the other. Provide an example, such as some days you students are a pack of wild animals (or angels, dependent on the
day)!

Now, send the students off for 10 to 15 minutes to explore their surroundings and come up with 10 different similes/ metaphors, and at least 5
attempts at personifying their surroundings. These are to be written down and recorded within their literacy journals. ex

Upon return to the classroom, students will collectively discuss and share their examples of figurative language. They will be given the
opportunity to record any treasures other students have chanced upon, and record any further similes, metaphors or personification they wish.
Building the field: Teaching and Learning cycle, What key things do students need to know about genre or topic? Model, Group or
independent rehearsals?
 23

The chosen poem effectively models figurative language to the students, providing them with clear examples relative to the learning outcomes
of the lesson. Students construct their own similes and metaphors independently, demonstrating their development of control over language
through practice.

It is key that students are aware and fully comprehend what a simile, and what a metaphor is, and the distinct difference between the two.

Resources: (List what you will need to have on hand for your lessons and organisational matters)
The Wooded World by Sheila Visingardi

Teaching Strategy/Learning Activity:

(Ask yourself, What will challenge or support the students to learn the concepts Im trying to teach? What will the students be doing? What will
I as teacher be doing?)

Students will support one another in the discovery and creation of figurative language (the learning goal) to describe their surroundings.
Through language exploration they will generate ideas and create figurative language exclusive to the way they perceive the world around
them. The role of the teacher is to encourage this natural exploration and creativity of language to describe the world.

Pre or post assessment strategies:

(Ask yourself, How do I know at which level to start? peer/self asses built in? How could I capture the main learning points? How do I know
students have got it?)
Formative assessment in this lesson will come through observation in the discussion stage at the end of the lesson. Peer assessment should
have occurred throughout the explorative do you have checklist or similar ?

Any special considerations: (Consider the students with special needs or the particular needs of your class or school)

Students who wish to receive additional help may form a teacher led wandering troop that will navigate the school grounds, prompting
descriptive and figurative discussion about the observed environment. This will be through giving the majority of the sentence/ phrase, such as
That tree is as tall as These examples will provide students with progress towards the learning goal in a dependent manner, hoping to
successfully scaffold the activity and enable students to gain some independence towards the learning intention.
 24

My Wooded World by Sheila Visingardi

As a child, I would sit and ponder
at the wooded areas, for their beauty relaxed me.
The sway of the branches and whistling of the winds,
as if they were calling my name.

Then as I grew older, they were my retreat,

for the woods became my own world,
a world full of imagination, creativity,
resourcefulness, as well as inspiration.

I loved my domain, for no problems were too great.

The woods protected me from everything.
The branches would open as to hold me.
The animals, in their busy ways, stopped to welcome me.

It was this place, my wooded world, that I lived for.

It is that place that beckons me now.
For it was only there, in them woods, I felt truly free,
as free as I would feel when your love would surround me.

in loving memory of John H. Burns Sr. -my father

Source: http://www.familyfriendpoems.com/poem/my-wooded-world
 25

LESSON #4
BIG IDEA: Musical tools in Poetry Literature or text type Poetry Year Level: 6
AC: English Standard:(highlight relevant)
1.1.1.1.5 Receptive modes (listening, reading and viewing)

By the end of Year 6, students understand how the use of text structures can achieve particular effects. They analyse and explain how language features,
images and vocabulary are used by different authors to represent ideas, characters and events.

Students compare and analyse information in different and complex texts, explaining literal and implied meaning. They select and use evidence from a text to
explain their response to it. They listen to discussions, clarifying content and challenging others ideas.

1.1.1.1.6 Productive modes (speaking, writing and creating)

Students understand how language features and language patterns can be used for emphasis. They show how specific details can be used to support a point of
view. They explain how their choices of language features and images are used.

Students create detailed texts elaborating on key ideas for a range of purposes and audiences. They make presentations and contribute actively to class and
group discussions, using a variety of strategies for effect. They demonstrate an understanding of grammar, and make considered vocabulary choices to
enhance cohesion and structure in their writing. They use accurate spelling and punctuation for clarity and make and explain editorial choices based on
criteria.

This lesson has been chosen to demonstrate an in depth productive learning experience.
AC: English content descriptors (secondary, helps you think about how you will meet the standard)

Identify and explain how choices in language, for example modality, emphasis, repetition and metaphor, influence personal response to different texts
(ACELT1615)
Identify the relationship between words, sounds, imagery and language patterns in narratives and poetry such as ballads, limericks and free verse
(ACELT1617)

Lesson Outcome/intentions: (Within the unit what particular skills or knowledge are focussed on in this lesson?)

This particular lesson looks at the musical tools used in poetry. Specifically, it looks at alliteration, assonance, consonance and onomatopoeia.
By the end of the lesson, students will be able to recognise these four musical tools, and put them into practice.
 26

What will students produce?

Students will produce their own short sentences/ phrases utilising the musical tools commonly utilised in creative writing. This will be recorded
within their literacy journals and provide formative assessment on the topic covered this lesson. These sentences will demonstrate their level of
understanding and complexity

Code-breaker The emphasis is on decoding and encoding the codes, symbols and
conventions of written, spoken, visual and multimodal texts in response to
contextual factors
As code breakers the students will look at decoding the array of musical tools poets
utilise, and look toward independently creating their own. The will gain the knowledge
necessary to understand why onomatopoeia and other musical tools are used, as well
as contextual factors for its use.
Text participant The emphasis is on comprehending and composing or
making meaning from written, spoken, visual and multimodal texts.
Students will make meaning from the written aspect of musical tools, and gain
an ability to comprehend why it is a powerful literary tool used in creative writing.
The will comprehend the bridge musical tools provide from written to spoken,
and work to compose their own.

Text user The emphasis is on understanding the purposes of different written, Text analyst The emphasis is on understanding that written, spoken, visual
spoken, visual and multimodal texts and using texts in different ways for different and multimodal texts are not neutral but represent particular points of view and
cultural and social functions silence others.

Students will understand the purpose of musical tools with creative texts, and use them Students will gain an understanding as to the representation of viewpoints
themselves for the function of entertainment through language. through musical tools, and analyse the potential uses to help portray a
particular opinion within creative works.
How will I do this?
Lesson Outline:
Introduction: (How best to motivate and explain the importance of these lessons. i.e. connected to artefacts from home)
Despite being only one lesson, this will take place over the time allocation of two literacy sessions. Like you multi-sensory and interactive
approaches

Begin the lesson by playing a game of rhyming silent ball with the students. When the student receives the ball, they must also give a word that
rhymes with the previously stated word. As an additional rule, however, students cannot repeat previously said words. Play several rounds,
beginning with easier words like cat, and progressing to words with greater rhyming difficulty. When the game has run its course (only about 5
minutes or so), ask for a rhyme to the word music. With the exception of the medical words or aguesic and dysguesic, which students are
highly unlikely to guess, they should not be able to find real words that rhyme. This then bridges effectively to todays topic of musical tools in
poetry, explaining that by the end of lesson students will be able to effectively know how to use musical tools within creative writing.

Explain to the class that you are going to read Song of the Train by David McCord to the class. Ask them to close their eyes, and listen to the
poem, and the musical aspects it brings. After the first reading, pause for a period of 30 or so seconds, before reading the poem again. After
 27

the second reading, ask students to open their eyes and discuss the verbal experience. Ask them what sounds they heard, and whether or not
any imagery came to mind.

After a couple of minutes of group discussion, ask the class is they would like to share their ideas and thoughts about the poem. List notable
ideas on the board, specifically ones that align with the musical tools of rhyme, alliteration, assonance, consonance and onomatopoeia. The
following part of this lesson is flexible in the order, dependent on what aspects of the musical tools students noticed within the poem.

Students will most probably recognise rhyme first, and this should then be linked to the onomatopoeia present in the clickety clack sound of
the train. Explain that Onomatopoeia is the name given to words that imitate their meaning through sound, and that this creates instant line of
understanding with the reader. By emulating the sound of the train, the author has used onomatopoeia to create a clear image in the
audiences mind. Give the students a few examples, such as bang, whack and woof, and then give the students two minutes to write as many
onomatopoeia words down in their literacy journals (for this, and the remainder of activities, students may work in small groups).

Bring the focus back to clickety clack, and ask if students notice anything else musical about these words. Thats right, they both begin with
the same letter! Ask students what it is known as when words beginning with the same letter or sound are used in quick succession, and with
some memory jogging it should be dormant in their minds that it is alliteration. Remind students that alliteration is a useful musical tool because
it adds punch to what was written. As another short activity, The ownership is then place on the students to create their own punchy alliterative
phrases to again be recorded within their literacy journal. Give them five or so minutes, and then alter the activity slightly, challenging students
to create their own alliterations using the sample model Walter walked warily to the waterfront. This change requires students to create
alliterative sentences using a verb, an adverb and a noun that all start with the same letter or sound, independently practising the application of
grammar through direct work with word classes whilst they play with language. After five minutes, ask if anyone would like to share their ideas,
and give students the opportunity through class discussion to share and record one anothers alliterative phrases.

Move forward now onto the musical tools of assonance and consonance, asking students if they have any idea as to what these might be. Hint
towards consonance, and how it sounds similar to a phonetic sound, or a letter of the alphabet that denotes a particular sound think
consonant (its a long shot, but the class should make the connection once it has been given them). Give students the definition of consonance
first, that the use of particular consonant sounds within quick succession within a sentence is known as consonance. Provide the examples of
pitter patter and grassy summer days, being sure to emphasise the repeating consonant sound within these examples, and look back to the
clickety clackety of the train within the poem as well. Give students 10 minutes with a partner to come up with and record their own phrases
utilising consonance.

Bridge to assonance questioning as to the other class of sounds, of which the letters a, e, I ,o and u belong, vowels. Just as consonance
utilising consonant sounds, assonance utilising vowel sounds to great an internal rhyme. Similarly, this vowel sound does not need to present
at the start of the word, and give the examples of proud round cloud, and the moon rose over and open field. Again, be sure to emphasize
the repeated vowel sounds in each example. Give students another 10 minutes to explore and generate sentences or phrases utilising
 28

assonance. Once completed, collect all literacy journals so that the produced expressions of musical tools create throughout this lesson can be
explored formatively, to ensure all students are understanding of the scope of todays lesson.

As a fun activity to close the lesson, share the The Morning Rush by John Foster with the class. Deliver it verse by verse, in a manner of
different musical styles. Invite students to come out and give a reading of the poem/ a verse in a musical style of their choice (there are a
particular group of students, both male and female, who will delight in such an opportunity, and the majority of the class would love to hear
them!)

Before students leave the lesson, be sure to quickly quiz them so to determine whether or not the goals for the lesson have been complete.
Ask them: What is assonance? What is consonance? What is alliteration? What is onomatopoeia?
Building the field: Teaching and Learning cycle, What key things do students need to know about genre or topic? Model, Group or
independent rehearsals?

This lesson looks to expand students horizon across an array of texts within the creative writing genre. The teachers role in this lesson is to
explain the different musical tools of consonance, assonance, alliteration and onomatopoeia to the students to lay the foundations down. This
tools are then modelled through examples, and students begin the transition from dependent to independent users of these skills, whilst
independently practising grammar within their works as they do so. They will work collectively and cohesively with one another to share and
explore ideas and the musical tools able to be utilised in creative writing. The examples scaffold the technique, and are then able to jointly
construct their own alliteration/ assonance and consonance in small groups in class. Through practise, this leads to independent construction.

Resources: (List what you will need to have on hand for your lessons and organisational matters)

A copy of The Mourning Rush by John Foster, as well as a copy of Song of the Train by David McCord (see attached for both).

Teaching Strategy/Learning Activity:

(Ask yourself, What will challenge or support the students to learn the concepts Im trying to teach? What will the students be doing? What will
I as teacher be doing?)

The broad learning goal allows for broad exploration within the genre of musical tools, and will therefore require explicit teaching to ensure the
scope of the lesson does not become too wide. Questioning is to be used to check understanding and provide verbal feedback to students as
they practise the use of musical tools. Through flexibility in the length of the lesson, students will be given the time needed for them to
successfully achieve the learning outcome to a high standard. Again, this lesson looks at teaching a strategy of effective poetry, rather than
just the context itself. This provides students with beneficial lifelong knowledge in the area of creative writing/ language. The paired learning
activity provide opportunities for feedback from other students, and ensure students practise in a learning environment enjoyable to them.
Pre or post assessment strategies:
 29

(Ask yourself, How do I know at which level to start? peer/self asses built in? How could I capture the main learning points? How do I know
students have got it?)

At the end of this lesson, students will hand up their books so that the work from the previous two lessons can be evaluated formatively. This
will provide feedback as to student understanding of the topics of both figurative language and musical tools. Using this information, it can then
be decided whether or not students are in a position capable of moving forward within the unit, or if either/ both of these lessons need
revisiting. Through partner work, students will gain a degree of casual peer assessment, gaining knowledge as to whether their works are
engaging and entertaining to their audience.

Any special considerations: (Consider the students with special needs or the particular needs of your class or school)

Brain breaks are likely to be needed within this lesson as although students are productively working themselves throughout the lesson, they
are still working hard and consistently within the four walls of a classroom on an iterative activity. Some students may wish to work outside, too,
and this is to be allowed so long as students continue to work.
 30

The Morning rush by John Foster

Into the bathroom,
Turn on the tap.
Wash away the sleepiness
Splish! Splosh! Splash!

Into the bedroom,

Pull on your vest.
Quickly! Quickly!
Get yourself dressed.

Down to the kitchen.

No time to lose.
Gobble up your breakfast.
Put on your shoes.

Back to the bathroom.

Squeeze out the paste.
Brush, brush, brush your teeth.
No time to waste.

Look in the mirror.

Comb your hair.
Hurry, scurry, hurry, scurry
Down the stairs.

Pick your school bag

Up off the floor.
Grab your coat
And out through the door.
 31

Song of the Train by David McCord

Clickety-clack,
Wheels on the track,
This is the way
They begin the attack:
Click-ety-clack,
Click-ety-clack,
Click-ety, clack-ety,
Click-ety
Clack.

Click-ety-clack,
Over the track,
Faster and faster
The song of the track:
Click-ety-clack,
Click-ety-clack,
Clickety, clackety,
Clackety
Clack.

Riding in front,
Riding in back,
Everyone hears
The song of the track:
Clickety-clack,
Clickety-clack,
Clickety - clickety,
Clackety
Clack.
 32

LESSON #5
BIG IDEA: Literature or text type Year Level:
We are all able successful poets Free verse/ shape poems 6
AC: English Standard:(paraphrase relevant)
Students understand how the use of text structures can achieve particular effects.
Students understand how language features and language patterns can be used for emphasis.
Students show how specific details can be used to support a point of view.
Students create detailed texts elaborating on key ideas for a range of audiences.
Students use a variety of strategies for effect.
Students demonstrate an understanding of grammar, and make considered vocabulary choices to enhance cohesion and structure in their
writing, using accurate spelling and punctuation.
Students make editorial choices based on criteria.
AC: English content descriptors (secondary, helps you think about how you will meet the standard)
Create literary texts that adapt or combine aspects of texts students have experienced in innovative ways (ACELT1618)
Experiment with text structures and language features and their effects in creating literary texts, for example, using imagery, sentence variation, metaphor
and word choice (ACELT1800)

Lesson Outcome/intentions: (Within the unit what particular skills or knowledge are focussed on in this lesson?)

The intention of this lesson is that students will apply the poetic knowledge they have amassed over the previous lessons in the unit to
successfully create original poems.

What will students produce?

Students will produce a free verse poem utilising the theoretical knowledge they have learnt within the course of this unit. They will create this
poem with the intention of displaying it in a shape of their choosing as a shape poem.

Code-breaker The emphasis is on decoding and encoding the codes, symbols and
conventions of written, spoken, visual and multimodal texts in response to
contextual factors
This lesson students will look at encoding their own texts with the conventions of written
and spoken creative language.
Text participant The emphasis is on comprehending and composing or
making meaning from written, spoken, visual and multimodal texts.
Students will compose their own original text for others to make meaning of as a
well rounded, multimodal form of art.
 33

Text user The emphasis is on understanding the purposes of different written, Text analyst The emphasis is on understanding that written, spoken, visual
spoken, visual and multimodal texts and using texts in different ways for different and multimodal texts are not neutral but represent particular points of view and
cultural and social functions silence others.

Students will design a poetic text based on the purpose of entertainment.good use of When creating their texts, students will use their understanding of points of view
model within texts to create a piece promoting their own view on the subject they have
chosen.
How will I do this?
Lesson Outline:
Introduction: (How best to motivate and explain the importance of these lessons. i.e. connected to artefacts from home)
Welcome the students to the class, and explain that todays lesson will look at applying all the great poetry knowledge so far learnt this unit.
Explain that we are all capable of being effective poets, and are now going to let our inner poets out.

The learning activity today is for students to create their own shape poems. They are able to decide on the topic and thus, shape of the poem.
Students are to use all the knowledge gained so far throughout the unit to create their own free verse shape poem. Explicitly inform students
that the poems they write will not be marked, and that they themselves will assess their own work using the rubric given, as well as the work of
a peer. Ask students to hand out the rubric to the class, and go through it with them, explaining that the poems are only focussed around work
we have covered throughout this unit.

Give explicit instruction that these original poems must be appropriate to be shared with the class, as they will be peer assessed. Students are
first to draft their poem, before looking at creating a definitive and particular shape with the text they have created. They will be required to edit
their piece before they publish it to be assessed.

Building the field: Teaching and Learning cycle, What key things do students need to know about genre or topic? Model, Group or
independent rehearsals?

In this lesson, students take an independent role in constructing their own free verse poems. The context set will be that of a free verse poem,
which students are to create with the intention of it later becoming a shape poem. This lesson will effectively look at putting into practise the
knowledge students have attained throughout the course of this unit independently, to create their own works of poetic art.

Resources: (List what you will need to have on hand for your lessons and organisational matters)
Attached rubric x32

Teaching Strategy/Learning Activity:

(Ask yourself, What will challenge or support the students to learn the concepts Im trying to teach? What will the students be doing? What will
I as teacher be doing?)
 34

The penultimate lesson looks at applying the knowledge amassed so far this unit into students own poems. Students will look to create short
free verse works of poetry utilising the knowledge they have learnt. The rubric handed out to students will act as a clear learning goal for
students, who will be able to constantly refer back to the expectations set upon them. The graphical component of the shape poem will enable
students to creatively express themselves within a topic of their choosing, whilst practising the art of creating their own poetry. The unit of work
until now has looked at providing strategies to aid students with the creation of poetry, through an understanding of what is present within an
effective poets toolbox. The teachers role is to enthuse students, and nurture a position learning environment in which all students wish to
partake. This task is not to be completed only within only the class time of this lesson, however, but as homework and over a period of two
lessons worth of time to provide flexibility, allowing all students to complete the work to a standard they are proud of.

Pre or post assessment strategies:

(Ask yourself, How do I know at which level to start? peer/self asses built in? How could I capture the main learning points? How do I know
students have got it?)

Observational assessment is provided through this lesson, and a more summative opportunity comes at the completion of this work. Students
will have been given the tools to begin and create this piece needed to be more specific feedback through the unit

Any special considerations: (Consider the students with special needs or the particular needs of your class or school)

Certain students within the room may appreciate scaffolding. For those students, a focus group is to be held by the teacher to really iterate the
array of ideas students can explore through their poetry. The struggle for most students will be starting as they will not be able to choose a
topic to focus on. For those students in particular, they can utilise books or other repositories of knowledge such as poems weve looked
through in class for ideas. An SSO will also be on hand to help all students get ideas flowing and help them put pen to paper. Students that
possess possible behaviour difficulties will be monitored and, if needed, sent to buddy class to work effectively. Consider structure and class
positioning and environment aspects too

Love the terminology well done !
Budding
Overall Ideas Ideas are unoriginal or
unimaginative, and do not
hook the reader.
Visual form The poem follows basic
structure, but does not
present itself proudly.
Verbal sequence
Figurative language Figurative language is not
used, or used mistakenly.
Musical tools The musical tools of
alliteration/ assonance/
consonance/ onomatopoeia
are either unused or used
incorrectly.
Developing
Ideas are unoriginal
The poem contains a visual
aspect more than that of a
standard poem.
The poem uses similes/
metaphors/ personification in
a generalised manner.
The poem uses alliteration/
assonance/ consonance/
onomatopoeia in an ordinary
fashion, rather than one that
is relevant.
Proficient
Engaging and relevant ideas
are present, sparking interest
into the topic of discussion.
Reasonable connection to
either themselves or the
world.
The visual shape of the
poem enhances the overall
poetry experience
The poem specifically and
accurate uses the similes/
metaphors/ personification to
good effect.
The poem specifically and
accurate uses the musical
tools of alliteration/
assonance/ consonance/
onomatopoeia to good effect.
35
Excelling
The ideas presented are
imaginative and hook the
reader. Meaningful
connection to either
themselves or the world has
been made
The poem has a visual
aspect that is aesthetically
pleasing and meaningful.
Visually, it promotes the
poem in an artistic light.
Striking and meaningful, the
poem utilises an array of
similes/ metaphors/
personification to bring the
poem to life.
Striking and meaningful, the
poem utilises an array of
alliteration/ assonance/
consonance/ onomatopoeia t
 36

LESSON #6
BIG IDEA: Literature or text type Year Level:
We are all capable poets Shape poems/ free verse poems 6

AC: English Standard:(paraphrase relevant)

Students understand how the use of text structure can achieve a particular effect.
Students analyse how language features, images and vocabulary are used by authors to represent ideas, characters and events.
Students listen to discussions, clarifying content and challenge others ideas.
Students understand how language features and language patterns can be used for emphasis.
Students contribute actively to class and group discussions.
Students demonstrate an understanding of grammar, using accurate spelling and punctuation.
AC: English content descriptors (secondary, helps you think about how you will meet the standard)
Participate in and contribute to discussions, clarifying and interrogating ideas, developing and supporting arguments, sharing and evaluating information, experiences and
opinions (ACELY1709)
Analyse how text structures and language features work together to meet the purpose of a text (ACELY1711)
Analyse strategies authors use to influence readers (ACELY1801)
Re-read and edit students own and others work using agreed criteria and explaining editing choices (ACELY1715)
Understand that cohesive links can be made in texts by omitting or replacing words (ACELA1520)
Lesson Outcome/intentions: (Within the unit what particular skills or knowledge are focussed on in this lesson?)

This final lesson looks to round of the theoretical knowledge gained from the previous five lessons through once again answering the questions
originally posed at the start of the unit, as well as peer reviewing one anothers work. The lesson intends to provide peer feedback on poetic
works, providing a malleable assessment opportunity without marking poetry as such.

What will students produce?

Students will colour code a rubric as part of the peer assessment of another students work.
Students will once again produce a mindmap/ brainstorm as to the initial guiding questions of What do we know about Poetry?, What makes
for good poetry?, and What is Poetry? to demonstrate their collective learning within the topic.
 37

Code-breaker The emphasis is on decoding and encoding the codes, symbols and
conventions of written, spoken, visual and multimodal texts in response to
contextual factors
Students will decode the symbols and conventions of poetry written by their peers with
relation to the rubric.
Text user The emphasis is on understanding the purposes of different written,
spoken, visual and multimodal texts and using texts in different ways for different
cultural and social functions
Text participant The emphasis is on comprehending and composing or
making meaning from written, spoken, visual and multimodal texts.
Students will make meaning from the poetic works from their peers to comprehend
anothers choices when designing poetry. They will look not only at the written
aspect, but the visual as well to gain insight into the poem as a complete art form.
Text analyst The emphasis is on understanding that written, spoken, visual
and multimodal texts are not neutral but represent particular points of view
and silence others.

Students will examine a peers poem and look for interpretive understanding of the Through reading and examine of a peers work, students will look to seek
purpose behind the piece, taking into account both visual and verbal modes of the text. understanding as to the particular point of view attributed to the piece of work.
How will I do this?
Lesson Outline:
Introduction: (How best to motivate and explain the importance of these lessons. i.e. connected to artefacts from home)

This lesson is reliant on the previous lessons work being completed, and although it can be adapted, it works best if all students are up to date
with their work.

Explain that todays learning goal is to give an honest assessment of one anothers work through peer-assessment against the rubric
previously given to students, and ask to be sure that all students are up to date and at a level capable of taking part in todays activity. Pair
students together, preferably with someone they know, but are not too familiar with. Poems can be very personal, and whilst it is important to
expand students social horizons, it is also important that they feel safe and secure in sharing this piece with their chosen peer. Students are to
be given 15 to 20 minutes to read, re-read, and peer-assess their partner against the rubric. Have they been taught this ?

Once completed, this is to be handed up to the teacher for evaluation, and so that the work can be published and presented around the room.
Students are then to return to the activity covered within the first lesson, involving the four questions What is Poetry?, What do we know
about Poetry?, What makes for good poetry?, and Why do we read poetry? Again, students will answer these questions through
brainstorms/ mind maps, and will be given a similar time frame once again to complete the activity as before.

Whilst students are completing this activity, the teacher is to have a quick squiz through the handed up work for students who have received a
high achieving peer-review. To close the lesson, the teacher will quiz the class, particularly those students who gave a great appraisal of
anothers work, to explain why that poem was so good. Students will also be chosen at random to discuss the peer-review process.

Building the field: Teaching and Learning cycle, What key things do students need to know about genre or topic? Model, Group or
independent rehearsals?
 38

This lesson should encapsulate the key things students have learnt about the genre of poetry. Joint construction of the brainstorms/ mindmaps
through a task all are capable of successfully completely should promote equal involvement, and provide evaluation as to the success of
student learning within the unit.

Resources: (List what you will need to have on hand for your lessons and organisational matters)
Rubrics
A3 paper
Teaching Strategy/Learning Activity:
(Ask yourself, What will challenge or support the students to learn the concepts Im trying to teach? What will the students be doing? What will
I as teacher be doing?)

Students will be challenged to think critically regarding one anothers work with respect to the rubric. This reflective process will involve analyse
the texts in both a visual and verbal sense, and rely on students giving an honest appraisal of each others efforts. This peer-assessing activity
will provide students with internal questioning of both their own understanding, and the understanding of the original author (their peer) to
effectively grade the work against a rubric. The feedback they provide one another through the rubric will provide transparent knowledge to
each student in where they need to go in order to achieve at a higher level, without disregarding the poetic potential within each student. The
return to the mind maps/ brainstorms will once again provide students will a graphical representation of their learning, however this time it will
also act as reaffirmation of new learning. Having students working together productively through a task they can all complete successfully will
promote social interaction and reduce social loafing.
Pre or post assessment strategies:
(Ask yourself, How do I know at which level to start? peer/self asses built in? How could I capture the main learning points? How do I know
students have got it?)

The assessment rubric will work best if moderated privately by the teacher, to get an honest understanding of where each student is at with
their learning within this unit. That is not to say that the poetry created is marked, it is assessed against the rubric only to see where the
students are relative to the learning outcomes.

The renewed brainstorms/ mind maps are also evaluated by the teacher prior to placing around the classroom. They are a formative tool to
give a solid understanding of where each student is with regards to the unit, and provide feedback to the teacher as to whether or not this was
a successful and worthwhile learning experience.
Any special considerations: (Consider the students with special needs or the particular needs of your class or school)

Most students, especially those with ASD may be choosy with regards to partners given the personal nature of poetry. Those who wish to
choose their own peer to review/ be reviewed by are able to should they so wish. They are still encouraged to choose someone outside their
immediate friend zone, however, this will not be policed.
 39

References

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day-perfect-poetry-lesson

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Visingardi, S. (2006). Poem About Escaping To The Woods, My Wooded World. Family Friend Poems.
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Ward, M. (2016). Week 7 Writing Shape Poems Grade 5W@apollo. Gradefivew.global2.vic.edu.au.

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