Justification for the inclusion of foundation subjects in the primary curriculum was highlighted by Robin Alexander (2004). He refers to the 2002 Ofsted report (pp18-19) which found “a link between breadth, balance and standards” and it was “the breadth and richness of the curriculum which helped secure the quality of teaching and learning in literacy and numeracy”
Ofsted (2002, p11) found the most successful primary schools, scoring highly in English, mathematics and science, offered a rich curriculum, including “the humanities, physical education and the arts”. This contributed greatly to developing pupils’ imagination, creativity, self-confidence and “a positive attitude towards school”.
Barnes (2011) argues that a rich, broad curriculum will allow each child to find their particular strengths, so they can gain a sense of personal achievement. To make learning enjoyable, Barnes suggests teachers should encourage children to discuss their different viewpoints to boost motivation. The curriculum needs to be designed so that the child’s experiences at school give rise to positive feelings.
The implication is that the school curriculum can offer richness and the opportunity for each child to excel, only through the inclusion of a wide range of foundation subjects. Their inclusion, however, places considerable time pressure on teachers in covering the curriculum. The dilemma demands inventiveness on the part of teachers in devising ways to make best use of teaching time.
The Principles of effective teaching and learning in foundation subjects:
Ofsted (2002) noted the teachers in the most effective primary schools were skilled in making links between different subjects so that pupils could build upon knowledge o...
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...ings, the teacher-led group discussion helped the children to express positive feelings.
Conclusion:
The principles of effective teaching in foundation subjects include careful, detailed lesson planning, where there is also scope for flexibility; clear learning objectives based on the National Curriculum; confident subject knowledge; and efficient use of available time and resources. The inclusion of foundation subjects in the National Curriculum greatly enhances opportunities for creative thinking both on the part of the teacher in selecting, designing, planning and conducting sometimes cross-curricular lessons, as well as the development of creative, imaginative thinking amongst pupils. Effective teaching of foundation subjects can include teaching strategies that tap into a child’s previously unrecognised talents and provide opportunities for them to shine.
Connected to this theme is the development of a shared, lived experience, where students and teacher are involved in an ongoing negotiation of curriculum. In the first 13 chapters, Paley’s central focus is to develop a learning community within the safety of the classroom. In the second half of her book, Paley illustrates how the combination of these two themes in turn offers an opportunity for what we call an opening up of the definition of curriculum. This review is an analysis of these three themes within the organizational framework of Paley’s book. The theme of children and teachers as co-creators of curriculum is established in the first chapter when Paley says, “Each year I wait to be reawakened by a Reeny … something to ponder deeply and expand upon extravagantly” (p.10). Reeny responds to this call by asserting herself early on as a curriculum leader in Paley’s classroom. Because children themselves are curriculum makers and leaders, curriculum cannot be imposed upon the learner. Ultimately, this opening up of the discussion of what curriculum means is established by Reeny in the last lines of the book when she announces: “But I’m thinking, why don’t you stay and we’ll talk about it. Don’t fly away. See we can keep talking about it, okay?” (p. 99). It is in Reeny’s utterance that we understand—the curriculum conversation must necessarily begin with students’
By teaching thematically, it would enable me to integrate the four core National Curriculum subjects within a theme. This method of theme based units utilises and builds on children's interests and life experiences, therefore skills and knowledge are developed in meaningful ways.(Kerry. T (2011) Cross-curricular teaching in the primary school, Oxon: Routledge) The Intermediate Program Policy Grades 4 to 10 (1993) suggests that the more students become engaged in how and what they study, the more interested they are in learning. Likewise, Bruner also supports the notion of children to be involved in their own learning process, so that connections could be made through personal discovery and enquiry and not just being passive receivers of information. This clearly highlights the importance of children taking an active role of their learning. Therefore in my approach of delivering the core subjects, it would be necessary for me to collaborate ...
In this assignment I will justify the place of the following subjects within the primary national curriculum: Geography, History, Physical Education, Religious Education, Drama and Music. The reason I have chosen these subjects is because I have had an experience of them within my teaching placements and within seminars at university. In addition to this, I will analyse the use of cross-curricular learning in primary education and I will aim to explore the benefits and challenges of the approach.
Palaiologou, I., 2013. The Early Years Foundation Stage: Theory and Practice. 2nd ed. London: Sage.
After reading Sir Ken Robinson 's book "Creative Schools The Grassroots Revolution That 's transforming Education" the reader can visualize several examples about how to change the actual educational system. He analyzes the process of education in which we are involved and how this one could be replaced with a creative one, which encourages students to be creative in all spheres and subjects; instead, prepare them for standardized tests. Education should be a process where students learn gradually at their own level. The author defines it as " organized programs of learning … that young people need to know, understand and able to do things that they wouldn 't if left to their own devices" (Robinson, p 17) Also, he suggest and analyze, in base of his experience, how education needs to be transformed in order to benefit students and prepare them for life, instead guide them through the straight line of standardized tests. He pointed the importance of teaching and education itself, and how creativity can be a key factor that makes students engage with the learning process.
Creativity is greatly influenced by how acceptable and desirable it is seen by individuals who otherwise may settle for different priorities. Many educational facilities extend students concerns toward certainly important subjects such as math, english, language and social studies. Unfortunately, subjects that assist both individuality and creativity such as music or fine arts courses are often not given the attention they deserve. Readily available, but rarely taken seriously when compared to other subjects or extra curricular activities, fine arts becomes a less important study. Schools should create a good balance between academics and fine arts. Most projects that school boards take on limit themselves to standardized testing and ways of
Moyles, J (2007) Beginning Teaching Beginning Learning in Primary Education, 3rd ed. London: Open University Press
According to Byman and Kansanen (2008, p605) ‘… teaching in itself does not imply learning’. The underachievement of young people in education has been a priority in British politics for over two decades (Ross, 2009). The estimates of academic underachievement at Key Stage 4 (KS4) are reportedly between one fifth and one third of the KS4 population in England (Steedman and Stoney, 2004). An Ofsted (2013) report identifies that pupils’ aged from 11 to 16 (early KS4) is below the national average. Underachievement in KS4 has become a recurring phenomenon (Wogboroma, 2014), with several academics and government bodies, identifying a range of significant implications, not only for the individual but also for wider society (Beinart, et al. 2002; McIntosh and Houghton, 2005; Hosie, 2007; Ofsted, 2013; DfE, 2014). This unseen cluster of learners that are academically underachieving is representative of an objectionable waste of potential, in addition incurring subsequent costs, from an individual viewpoint to a national scale (Ofsted, 2013). Consequently, recognizing and instigating timely interventions to tackle underachievement in KS4 and subsequently achieve social justice for this learner group should be a fundamental goal for schools. Motivation is recognised as an effective tool to overcome underachievement (Mega, et al. 2014) Furthermore, the intrinsic loci of motivation has developed to become an important phenomenon for educators, as it produces high-quality and effective learning in addition to creativity and achievement that can be progressively nurtured by teacher practices (Ryan & Stiller, 1991). Theories of motivation, self and society are critically evaluated to determine effective strategies...
When reviewing the literature regarding the past, present and future of educational curriculum, several main points seem apparent, namely that curriculum is cyclical, that a dilemma or paradox exists, and that curriculum must be looked at with a sensitive view.
The creation of art, music, dance, sporting activity and literature should be made a fundamental part of every school 's pre-K to 12th grade curriculum. The creation art it’s very important for children from their early age, a lot of benefits children can do and learn through art. A lot of benefits they can receive:
In looking at how education within the primary sector is organised between Denmark and England, it is necessary to examine the brief historical and political influences in order to pay homage to the structure and processes of both primary schools in reference with these chosen countries. In Denmark, the outcome for the educational system evolves from their culture and values that accentuates an individualism approach, thus, creating a pol...
We ignore the plain fact that students learn at different rates and in different ways” (3). Furthermore, teachers are the main source of knowledge in the classroom. When teaching, teachers determine almost everything that happens within their classroom. Including what information they have students learn, and how they pass on that information. However, over the years, it has been neglected that every student learns differently. Additionally, it needs to be remembered that it is the students who are learning. A school system is needed that can retain all students’ curiosity, individuality, and creativity. For instance, whether it is the amount of homework given, the type of test, the pace of teaching, or the style of notes required, students should not be confined to only one way of
Although recent early childhood education research recognises the importance of prior-to-school learning (Perry & Dockett 2008), I find that a majority of articles articulate that both numeracy and literacy development act as ‘preparatory’ and ‘determinative’ indicators for future success in school (LeFevre et. al 2009) which, at times, overshadow and take away from the holistic, play-based framework of the Early Years Learning Framework (Australian Gov...2009). I b...
The Creative Arts play a significant role in early childhood education as it provides children with a diverse range of skills to enhance their learning and development to meet the needs of succeeding in the 21st century. Educators can promote The Arts by adopting the Reggio Emilia approach to education, encouraging children to co-construct the curriculum to develop their skills in partnership with teachers, families and their cohorts. The focus of this essay is to emphasise the value of Creative Arts in early childhood education by providing a summary of the concepts and skills of the Creative Arts and the four strands; Dance, Drama, Music and Visual Arts. Then, ascertain how Creative Arts benefit children’s social development, language and
In early childhood, teachers guide children’s artistic learning, which is then supported by peers (Wright, 2003). This is known as the guided approach. In this approach, teachers reflect, explore and plan together possible way to extend children’s artistic knowledge and skills. Furthermore, activities are deliberately open-ended to foster divergent thinking and support the process instead of the product (Mills, 2014). Teaching creative arts provides children a mode of communication and a medium for representing the world (Wright, 2003). Since children learn through play, creative arts is a platform for children to interact socially, explore emotions and develop motor skills (Mills,