This is the 2006 Microsoft Innovative Teacher Award paper. Won the 2006 PEER REVIEW PRIZE in the INTERNATIONAL AWARD held in USA Philadelphia.

An exciting time in my life. The year 2005 – 2008 were really great highlights in the teaching career before I progressed to become Principal.

In 2006 I participated in the very first INNOVATIVE TEACHER AWARDS INTERNATIONAL competition sponsored by Microsoft (MITA). It was a riveting time as the internet was making its breakthrough in the education space and data projectors with SMART BOARDS were trumped as great innovations. No doubt they were. The MITA was a global event and it attracted great attention. All entrants had to participate in the regional finals across South Africa and the national finalists were chosen from the finalists from all provinces.

The detail is long and my visit to the USA, Philadelphia is an experience I will never forget. This article is to share the lesson that made it in the international space. The interview , has more detail on my career as a teacher. This article is on this space to invite discussion and sharing best practice.

THE PAPER PRESENTATION.

NEW   TECHNOLOGIES   WILL  NOT   INVALIDATE  EXISTING  REASONS   FOR  LEARNING   TO   READ  AND  WRITE.

• Reading gives access to knowledge, literary heritage, culture, individual expression and argument.
• Writing enables groups and individuals to articulate and reform knowledge express themselves and develop arguments.
• Literacy is necessary for effective functioning at work and in society.
• Both reading and writing give pleasure and personal fulfilment.

Reading is informed by understanding where texts come from and who has written them, how they are made and why they are made.  Writing their own texts helps learners to develop that understanding.

NEW TECHNOLOGIES FOR READING AND WRITING HAVE EXTENDED THE CURRICULUM FOR ENGLISH.

Students now need opportunities to understand:

• how the use of word processors, spell checkers and thesauruses affects the processes involved in the different stages of composition and presentation of text;
• how the research opportunities offered by CD-ROM and Internet-based services can be used to support the literature and language;
• how the use of electronic sources of information can enhance the processes of comparison and synthesis of information drawn from different texts;
• how the use of the Internet extends and changes possibilities for communication with, and publishing for, real audiences across the world.
• ENGLISH FOR TOMORROW, SALLY TWEEDLE ET AL.

Preamble:

Given that Education on a global scale is moving to support the move of ‘fast capitalism’ it becomes necessary that we train people to become independent such that they themselves become the ‘movers’ of fast capitalism.  In effect, the monopoly of control is then spread across a more broader band of people educated enough to invent new opportunities to satisfy the physiological needs of the masses such that more and more reach self-actualisation thus, prospering their own life through a culture of self-reliance. 

• Abdullah Sujee.

MACRO PLANS FOR THE YEAR 2000 AND BEYOND

The year 2005 will see to the broad development of the communicative competence ability that is manifested in the global economic market.  This means that the entire curriculum as suggested in the interim core-syllabus i.e. NATED 550 (GRADE 9 -12) must be used to establish an identity in the learner with the world outside the classroom that manifests itself broadly on economic strength.  In effect, the learners will be exposed to all facets of the socio-economic development that establishes itself out of the prevailing economic climate.  To this, every Educator of the English subject must see to the holistic development of the learner by enhancing innate potentials to the betterment of the of the entire community the learner is part of and the wider world in which he/she will become part of as a result of socio-economic interaction.

The above will be maintained through a review of the current English Subject Policy and the teaching of the interim core syllabus.  To this effect, the current implementation of the Out-Comes Based Education (OBE) will be administered as per department regulation/s and it will be progressed to higher grades.  The English Educator will and must use the OBE ideas to effect a change in teaching styles and therefore, change the ethos of the entire idea of schooling for the learner.  Teachers will therefore, pursue all types of extra-mural activities that will enhance this idea, examples of which relate to Youth Forums – consult with local newspaper companies, Youth Leadership Courses, Debating, Speeches etc that are managed on professional bases.

When the learner is to be assessed, the Educator will follow the guidelines the Education Department sets out for example, continuous assessment, cluster marking, peer evaluation and the likes.  This will enable the Educator and Learner to explore the dimensions of self-esteem and esteem of other more holistically.  In effect the self-actualisation process of the both the Educator and Learner is probed if not reached in varying degrees.  In this fashion of interaction we agree with Robert Jeffcoate in his book STARTING ENGLISH TEACHING when he cites John Dixon as correct when he said. ‘ It was an elementary mistake to demand a list of skills,  proficiencies and knowledge as the basis of and English curriculum’. Thus we move to the view of Jeffcoate when he says, ‘ An English Department needs to begin, in my view, by trying to establish which kinds of writing are already catered for already in the curriculum’.  In effect the Educator and Leaner will not necessarily develop a new curriculum in grades 9 -12 to meet the demands of the newly implemented OBE curriculum but will use the current NATED 550 in an innovative way to realise the objects of OBE and the establishment of the FET (Further Education and training Bill) and its objects.

The above will mean that the English Educator will undergo the DAS i.e. ‘Developmental Appraisal System’ set out by the Education Department and will follow it through in all respects for the purpose of self-development. In effect, the Educator will make use of the INSET (In-service Training) that will be established and provided by the Education Department through the local district offices or, the NGOs the Government allows.  This will lead therefore, to the implementation and progress of Quality Assurance that the School will do to improve the School to become a credible service provider of Education rated with a band of criteria set by the Education Department.  Thus, Educator development will be an ongoing process. 

Therefore, the context of English will mean ‘Our Challenge…will be to exploit the rapidly evolving hardware to present new and improved types of software… to provide with the information they want and need, at the proper time, in the proper form, wherever they need it. The creation and dissemination of the printed word will continue to be part art, part engineering.  If we pursue it diligently and intelligently, we will improve the engineering and extend it into areas as yet barely touched on, and we will do so without losing the art.  We may even advance it’

Points to Ponder 

“Electronic communications create new opportunities for the readers and writers; multimedia brings together word, moving image and sound. Together they provide new means for the representation and communication of meaning. It seems improbable that electronic texts will ever threaten the primacy of the printed word but it is already evident that the balance between the two is changing. How the English curriculum can reflect this changing situation will be a key question for the next century.”  The English classroom therefore, must be dynamic and not static, ‘always on the move’, it should be progressive and in touch with the technological advances that is and will be eventually part of Education.  To illustrate the point, ponder on the vignette below keeping in mind the following question: “Is my classroom a springboard to the world outside the world of the classroom?” 

Our Aim: Prepare children for the future… ‘Back to the future’ is your classroom, so   consider the scenario below… 

CONSIDER THIS SCENARIO BELOW KEEPING IN MIND THAT ‘BACK TO THE FUTURE’ Is YOUR CLASSROOM.

Time: The Future

Place: A Classroom

Clare handed over the slip of paper reluctantly. It consisted of one line only and read: “http//high.csv.city.ac.uk/WWW/Eng/Hamlet/sjt.html”. 

“Its not quite finished, Miss. Can’t I give it in tomorrow?”

“No,” her English teacher replied, glancing at it as she added to her pile. 

“You know as well as I do that it’ll never be finished. Today is the deadline and you’ll have to be satisfied with it as it is.” She turned her attention to the rest of the class. “Any more course work pieces?”

Some handed in paper – two to three thousand word essays by the look of them – others disks – multi-media presentations. They had been working on the Hamlet assignment for three weeks now. “Is Shakespeare multi-cultural?” was the broad question they had started with. But each learner refined it to generate his or her own particular focus. 

The difference between Clare’s piece and the disk – and paper – base presentations of her classmates was that she could not guarantee that the teacher would be reading the same text she had been working on at home the previous night. Hers was presented on the World-wide Web and, within it; Clare had created links with other texts from around the world. She had incorporated images of costume designs, critiques of productions, brief clips from the movie Hamlet from Russia and Japan and online discussion. And she knew that these were liable to be changed at anytime by their originators. What difference, she wondered, might those changes make to her final grade?

TEACHING WITH FLAIR

FOCUS: LITERATURE

The aim of this paper is to establish within each teacher the spirit of innovation, creativity and quality of presenting lessons.  Therefore, it is felt that no suggestions offered are prescriptive.  Let us now delve into this notion of: TEACHING WITH FLAIR.

Teaching with flair essentially would mean a way of making lessons memorable, exciting, worthy and contextual.  In order for this to become a reality, the teacher needs to conduct the following introspection:

• Just how well prepared am I to change my (conventional) teaching style/s?
• Can I work to prepare a worksheet for every lesson or, can I prepare to plan a worksheet for when ever the situation demands and see the work outlined on the worksheet done/followed up/developed?
• Is the PORTFOLIO work just a complication or an innovation for better learning but I do not see myself coping with the idea?

• In the situation of a multilingual/cultural classroom do I still teach literature as I did in a monolingual/cultural classroom?

• DO I JUST WANT A CHANGE OF FOCUS! ?

The above are all possible questions that have gone through your mind as you are caught in this web of trying to CHANGE your teaching style and assessment with OUTCOMES BASED EDUCTION.

The following ideas will hopefully change your FOCUS.

OUR FOCUS: LITERATURE

How many times you feel that your teaching of novels, plays and drama (Shakespearean as well) has just gone stale?

The examples I am going to use will illustrate a point of teaching literature using a whole language approach.  The whole language approach essentially means welding all aspects of language into the teaching of the novel, play etc.  It is to approach the teaching from a holistic perspective such that the potential of textual meaning is brought alive.

Consider how in ROMEO AND JULIET it was done. (Refer to annexure 1A). 

NOTE:

1. Before going into the play learners were exposed to slang and colloquialism.  Their task was to do the same in their own particular versions.

2. Now look at annexure 1B & 1C.  Note how the lesson is progressed and, can you list the language aspects you think were covered.

3. The work was then progressed to the point where learners learnt about marriage contracts and how the law is under current review as regards the recognizing of religious marriages.

At this point you might ask how?  See annexure 1D,E & F (these were the final lessons to the study of ROMEO & JULIET, which spanned the entire first term)

THE “ HOW “ WE DO IT?

Firstly one would have to do a study of the novel/play etc that one is going to teach.  In doing so you will have to identify where your learners are with the issues of the genre.  For example, in my teaching of Orwell’s ANIMAL FARM I saw the learners as having foreknowledge of issues such as oppression, electioneering and propaganda, thus it was necessary to make the novel a living experience of what they innately knew but did not understand. In effect ANNEXURE 2B illustrates how the constitution of South Africa was used to maximize understanding of issues raised in the novel.  Learners therefore, were encouraged to write aspects of the constitution relevant to the novel and in so doing became aware of what and how a constitution should be representative, fair, sensible and broad enough to have limitations and extensions in place as well – see section 36 of the South African constitution.  The constitution formed part of the lessons as each learner had a copy. Can you imagine how else the constitution was used progressively in the teaching of the novel? Learners drew up BILL of RIGHTS etc and other such political aspects that changed the lesson completely.

From the above it became clear that chapter-by-chapter teaching of the novel would be laborious but a new focus would change the learning experience. To illustrate the point, I have extracted three worksheets from the workbook (annexure 2A, 2B & 2c).  The work was accomplished after approximately 3 weeks sustained group work.

Can you imagine how you could have filled the gap with lessons on?

• Propaganda
• Poetry
• Formal writing
• Creative writing
• News broadcasts
• Newspaper articles (headlines, editorials etc.)
• Interviews
• Character comparisons of world leaders to characters in the novel
• Plays
• Cartoons
• Debates

• From the above you would have noted that the teaching of the genre would span across all language aspects as well as the literary aspects. Furthermore, the specific grade of the learner is taken into account.

We understand therefore that the teaching of the particular genre can span across the curriculum and further (see Learning Areas of Outcomes Based Education).  What becomes evident is the need to conceptualise the genre as close to the experience/s of the learners.  At this point it can well be asked where and how the English Second Learner (ESL) is part of this programme as an active learner.

The ESL becomes part of the programme from the very first day, as group work is encouraged and continuous assessment started.  Consider annexure 3A, 3B & 3C.  The worksheets were given out after a short viewing of the play MACBETH.  Thereafter a brief explanation enhanced the progress of the worksheets.  The work was first done individually then in small groups of four and five.  In this way the ESL was made to interact with pupils fluent in the English Language, life and the text. Here the ESL was relied on for his/her own experience to answer some questions that the group had little foreknowledge of.  Assessment followed from the above. How the groups organized themselves into smaller units to tackle all the tasks as well as, preparing themselves to present their views to the class was a major factor in determining marks.  Follow-up work were plays and related issues that related to the issues of South Africa/Africa and the World which had an impetus to the play MACBETH.

At this point it becomes necessary to illustrate the pedagogy behind such an approach.  Fraida Dubin and Elite Olshtain in their book,

COURSE DESIGN: Developing Programs and Materials for Language learning (p48-48) mention

“ In the cognitive-code practices, learners are expected to internalize linguistic rules which inturn help them use the language on their own.  Learners are given choices regarding types of activities, amount of practice, and the language skill or the medium in which the activity is carried out.

Drawing on humanistic-affective educational philosophies, communicative goals have further increased the learners’ role by encouraging them to share responsibility for various outcomes.  Since communicative aspects of interaction in the target language are emphasized, students must learn to function effectively in pairs and small groups, sometimes teaching each other, at other times discovering answers to problems together.

The type of activities or tasks students carry out is a natural outcome of the degree of control maintained by the teacher and the textbook, as well as the level of student involvement.  Approaches which favor considerable control on the part of the teacher and the textbook result in an abundance of mechanical and predictable tasks which leave very little error for the learners’ initiative.  Approaches which favor a communicative-humanistic view usually present learners with ample opportunities for unpredictable and negotiable outcomes to activities.”

From the above it can well be deduced that the course work designed for students is prescriptive for example, the grade 12’s must study MACBETH for examinations as well as this, that and the other, but the methodology is not prescriptive.  This would appear as the same didactic question related to teaching practice on the emphasis on changing teaching styles but, the difference is: now the emphasis is not on transferring textbook work to the learner but how to get the learner interactive with the text in order to make contextual meaning.

It becomes clear that the teaching situation must provide for product related activities.  This would involve learners themselves designing a workbook on a novel, play etc for other students to work through as well as for the teacher to use.

What all this adds up to is teaching with flair. 

DRIVING THE POINT HOME

1. Develop in the learner a sense to perceive that: EVERY NOVEL HAS A POTENTIAL FOR MEANING. 
2. The teacher is not textbook bound thus; lessons are not predictable and laborious.
3. The learner is made an active participant and is not passive.
4. The work allows the teacher and the learner to work with the text in a comfortable way and also, in a way where the potential of textual meaning is explored more by the learner than the teacher did.  What this actually achieves is the vast avenue of untouched resources that the learner brings to school, which can be identified as EXPERIENCE.  To illustrate the point, the Truth and Reconciliation Commission relates to people being charged with treason and other human rights offences- can you imagine that one or more of the learners have parents, uncles, aunts etc that actually sat on the TRC – what this can do for the lesson is great if all probabilities are explored.  We realize therefore that, the textbook is your resource but not your guide.  It is your focus and it is a means of making learning successful and rewarding.  Now that’s teaching with flair.

FURTHER DEVELOPMENTS:

Once you have identified with the process-planned work as discussed above it becomes easier to choose what can be suited for portfolio work.  Portfolios in essence is a ‘collection’ of work which the learner identifies as his/her best given the process through which it developed. Therefore, if ranges of varied tasks are done, the selection the learner has is greater.

Consider the following:

USING AUDIO MATERIAL:

Background:

In 1998/9 in teaching Julius Caesar to the grade 11’s who numbered 102 i.e. 3 classes of approximately 40.  The load was shared with another teacher whilst the grade 12’s who numbered 90 were also part of my teaching load. The Shakespeare study with the grade 12’s was Macbeth.

The grade 11’s were given task to record the following and have it peer assessed – see the form that was handed out to each learner.

1. A news bulletin of an event/s from the play including an insert of a reporter giving information from the scene.
2. An Advert on some aspect from the play.
3. A weather report.
4. An innovation e.g. a traffic report based on the play
5. Letter to an editor.

 The work after having been produced on cassette was then presented as a transcript as written pieces of work. Again the process of assessing was dramatically different in that marks were compared against the audio assessment giving a clear indication to the learner of their VARIED strengths & weaknesses.

Can you imagine how much work was done which, if the PORTFOLIO assessment was in place then, how much material was ready for selection?

WHAT WERE THE GRADE 12’S DOING…?

 Given that the grade 11’s were so absorbed in their work and the idea spread and the grade 12’s wished to do the same with MACBETH.  The challenge was put to them on an involuntary basis and the results were such that their individual interaction with the play increased. I was also surprised at how many learners decided to do the work.  In effect they became more familiar with references and quotes.  However, they were all busy with their major task.

THEIR MAJOR TASK:

 The grade 12’s major task was to produce a video on the play Macbeth.  The learners were asked to make a movie on the play in a characteristic way of how they as young people would want to see it.  The learners were all given their groups and they actually produced their films with a script to go along with it.  After recording their films on video it was assessed by their peers in an open setting i.e. learners had to review each film and on that, marks for the work was recorded. 

LOOKING BACK:

 When one looks back on all that was done it figures that learners were seen, heard and understood.  In effect, their ideas were concretised by a measure of experience i.e. what they were told to and this enhanced them to use the technologies they know with what they learn. Learners in grade 12 after the teaching of MACBETH was complete were given the task to produce a workbook on MACBETH that would be a guide and resource for Educators.  The results were astounding. Learners showed how they wish to be taught given that their experience of the world formulated the worksheets and tasks.  However, they lacked certain abilities for example, spelling errors, tasks not clearly defined worksheets untidy or too highly pitched. These aspects did not deter me but made me reflect on my own worksheets etc and it dawned upon me that many educators do not really take pride in the presentation of their worksheets.

COULD I BE WRONG? 

_________________________________________________________

ORGANISING YOURSELF & YOUR LEARNERS:

The first aspect to develop is to teach your learners something about filing and keeping notes together. This is vital as higher education relies on the organising of notes and the ability to retrieve notes at any given time.  However, it is understood that this is not the fundamental.  Now then, it would take some getting use to for learners to file their notes and you as the Educator getting to grips assessing the work in the files etc but, the way you approach the matter must suit your CONTEXT.

Below is an example of an INDEX TABLE my learners use.  The index table is displayed on the left hand inside cover of an A4 LEVER ARCH FILE. The learners use a 10 INDEX TAB ORGANISER to facilitate the index table. Given that lessons are done in the broad aspects indicated on the index table the learner begins to understand the constant need for planning, updating and recording work in appropriate places – A skill that Educators lack at times given our multi – faceted tasks we accomplish or attempt.

When assessing the files it becomes a task of innovation and good time management.  You would keep in mind that the work done in class went through a process of peer assessment, group check, sample marking and the likes therefore, the workbook is assessed globally and the issuing of MERIT CERTIFICATES forms the assessment.  An example (only 1 of 6 is given here) of such a certificate follows the INDEX TABLE.   The symbol on the certificate can be given as specific as possible e.g. 65% etc.  This certificate is what will inspire a learner to have a positive realisation of the TYPE of work he/she produced therefore, the assessment is more global and introspective then what you would think on the surface value of it.  The rational behind the type of assessment was the following cited by Robert Jeffcoate in his book STARTING ENGLISH TEACHING :

These practical and ideological weaknesses suggest that John   Dixon was right when he argued twenty-five years ago that it was 

‘An elementary mistake to demand a list a skills, proficiencies and knowledge as the basis of an English curriculum’ …Any English teacher reading the COX report or English in the National Curriculum is bound to be struck by the conflict within them between the behaviourist ideology and prose or rational curriculum planning and the child-cantered socio-linguistic and liberal humanist ideologies which prevail among English teachers.

What Jeffcoate talks about here is the way the National Curriculum aligns our ideas on assessment.  The ideologies he refers to above relate to the empirical paradigm and the Hermeneutic paradigm generally whilst the English in the National Curriculum is the British one but, the striking thing is that it fits hand in glove with the arguments we face today in South Africa with the New National Education Curriculum.  However, in my view it is argued from the above is that assessment is not what it used to be i.e. demanding list of observable proficiencies etc but a combination of that and, the ability to use those skills effectively and immediately in tasks within the learning and teaching environment.  That is to say, the work in the way it has been organised and assessed in the workbooks illustrate a kind of challenge for the learner.  The challenge is socio-linguistic – given the nature of discussion with peers informally on the planning and organising of detail.  It is also behaviourist in that learners operate within controlled settings thus, making subjective and objective assessments possible.  Furthermore, it allows for the liberal humanist ideology to permeate in that there are no strict codes of mark rubrics etc. In effect, the assessment is based on the holistic performance of the learner. 

I do acknowledge that the above is much to digest but, it needs one to understand that OBE in South Africa has not been challenged thus, what we present at all these conferences develops that challenge.  Therefore, the academic slot above illustrates the way 

for us to learn our curriculum read reports on it and be able to establish some new innovative ideas.

Finally, after all the assessment is done the mark can be used for a term mark of continuous assessment or a year mark.  The work that is in the workbook can be used for selection for the PORTFOLIO.

CONCLUSION

   The emphasis of all said is clearly summed up by Robert Jeffcoate in his book, STARTING ENGLISH TEACHINGwhere he says:

The vital thing is to make it obvious from the outset that literature is alive…the aim should not be knowledge or even ‘appreciation’, but creation.  The students are not to be passive recipients, but active participators; they must be fired to do things, to write poems, and perhaps plays or at the very least to act the plays of others.

Teaching with flair then means that Educators should enhance the worldview of the learner to such a level that he/she becomes a productive person in a holistic, global socio-economic and political environment.

 I leave you with the following so that you know that as an Educator life is different.

BLIOGRAPHY:

Fraida, D. et al (1986) COUSRSE DESIGN. Developing programs and materials for language learning. United States of America; Cambridge University Press. 

Foot notes  1, 2  &  5: Jeffcoate, R., Starting English Teaching. London, Routledge, 1992. *****

Foot note  3 & 4        : Tweedle, Adams, Clarke, Scrimshaw & Walton., English for Tomorrow ,Buckingham, Open University Press, 1997. *****

RECOMMENDED READING :

1. W.R.Kilfoil & C.Van Der Walt, LEARN 2 TEACH. English Language Teaching in a Multilingual Context. Pretoria,J.L.van Schaik Publishers,1997  *****

2. Fraida Dubin & Elite Olshtain, COURSE DESIGN. Developing Programs and materials for Language Learning. USA, Cambridge Umiversity Press, 1992. *****

3. Andrew Hart, UNDERSTANDING THE MEDIA. A Practical Guide. London, Routledge,1991. *****

4. Frank Smith, READING. Great Britain, Cambridge University Press, 1986. *****

***** A Must to read.

Grade 11 of ____/_____/___.

Continuous assessment for term 2

Individual effort – to be assessed by peers in a controlled setting.

Due date:  

Focus: Julius Caesar.

1. The written assignment for Julius Caesar – refer to worksheet given on 15 & 22^nd  March 2000.  The length of the essay must be 450 –500 words maximum. The work must be presented in a folder.  Please ensure that your name and grade appears on it.  Do not use plastic folders or files. I HAVE NOT INCLUDED THIS IN THE ADDENDUMS ATTACHED HEREWITH.
2. The contextual will be given separately.  The work must also be presented with the assignment above.
3. The second project is AN AUDIO PROJECT.
   • DETAILS:
     1. You must get yourself an audiocassette – preferred – C60. (ENSURE THAT YOU LABLE YOUR CASSETTE BEFORE IT IS HANDED IN)
     2. You must then record the following on it:  
        • A 5min. News bulletin that must be introduced by headlines – a brief weather report is also necessary.  Listen to Radio SAFM (104-107) or Radio 702 (MW) or any other station to get the idea of news broadcast.
          • Your news bulletin must be introduced by some lead i.e. a musical tone or other such audio sound.

Your focus

1. Choose 1 main event from Act 1,2,3,4 or 5, which will feature as the main story of your news broadcast.
2. Two other events must then be chosen from other Acts, which must feature as secondary newsflashes.
3. An advert must be chosen from another Act and must be produced for the news broadcast.
4. Finally, you should have a letter to the editor from another Act.

CHECKLIST	COMPLETED AND READY TO HAND IN!    YES           ?         NO
1.  ASSIGNMENT ESSAY.
2. CONTEXTUAL
3. AUDIO – MAIN ARTICLE
4. SECONDARY NEWS FLASHES
5. ADVERT
6. LETTER TO THE EDITOR

ANNEXURE 5

PEER MARKING SHEET FOR AUDIO ASSIGNMENT.

FOCUS: JULIUS CAESAR.

1. Use the grid below to assess the audio assignment of your peers. ADD A MARK IN THE COLUMNS.  3 persons must assess your work for it to be entered after consultation with the teacher.
2. You must assess three person’s work.  The teacher will record the details of who assesses.  In the event of you losing a person’s work, you will get zero.
3. You must be objective in your assessment and do not rush the exercise.
4. You must put your name as the marker/assessor and the person’s name whose work you are assessing. You must indicate the assessment number i.e. 1/3 or 2/3 or 3/3 to keep track.
5. The time for assessments is one week from the 10^th of April 2000. Make sure that you have three assessment sheets when you all assessments have been done.
6. The teacher is not responsible for loss of assignments – you have to learn to keep record of your work. The teacher will take the necessary steps to ensure control.
   • The last person peer marking will add the three marks given for the work and give the average. Let us take an example: The first person gave 10/100, the second gave 20/100 and you as the last marker gave 20/100. You will now add 10 + 20 + 20 = 50. Divide these marks by 3 to get the average i.e. 50/3=16. This mark will be given thereafter, the learner can 
   • Consult with the peers and teacher until a final result is reached. 

ANNEXURE

RUBRIC & MARKING GRID – THE AUDIO ASSIGNMENT !

Assessor’s Name:	ASSESSED WORK OF :
GRADE :	DATE:	GRADE:	ASSESS. __/3
NO.	ASPECT	MARK	POOR	SATISFACTORY	SENSIBLE	GOOD	EXCELLENT
1	Main article	40
2	Secondary article	20
3	Advert	20
4	Letter to editor	20
**	TOTAL

RUBRIC & MARKING GRID – THE AUDIO ASSIGNMENT !

MARK GLOBALLY: SEE GRID BELOW

SYMB.	MK	IMPRESSION/LANGUAGE/STYLE	CONTENT
A B B C D	20/ 17- 16 15 14 13- 11 10	Outstanding: totally fluent: news like (TV/Radio)- manages to captivate all points/attention.Excellent tone,but not flawless- diction is very good – blends in with newsreader’s/news-writer’s style. Insight into the text is clear – able to extract new messages – although not self-opinionated. (14-16 –little effect of sensationalism & dramatisation brought in) The message is clear and the tone is good. Identifies with audience but impact is lost as you listen. Coherent- evidence of some insight/good lang.usage- you don’t have to struggle to listen – not rushed – clear pronunciation of words etc.-fair intonation of voice. Very good: reads well – sounds a-bit rushed but good.	Evidence clear thought, dramatic/sensational/insig-ht into the text /use of good language & vocab. & understanding/variety. Knows effect of opinion, identifies with sense. Good use of text – but almost narrative – some good creativity. Text used but, relies on facts given – an attempt to innovate the details is clear-newsworthy.
D E E F	9 8 7	Pleasing: reads reasonably well. Average/clear. Tone of voice apt to message- slightly rushed-have to pay careful attention Pedestrian.  Clumsy synthesis but coherency identifiable – no variety in vocab. but appropriate. – Sounds rushed and unclear-evidence of little creativity. Weak. Just a pass. Not fluent – no coherency.  One struggles to understand and hear clearly what is been said. There seems to be no clear direction achieving lesson outcomes.	Missing facts/details & fair understanding of lacks language variety. Lacks dramatisation. & sensationalism. Poor interpretation/ little understanding/facts – relation to topic = poor.
F G G H	5/6 3/4/ 2 1	FAIL. Lacks fluency.  Off topic. Difficult to understand.  Difficult to listen – not clear!  Clearly a weak candidate. No indication of planning – tone is not apt -sounds garbled. Barely coherent – no relation at all to topic/poor language usage as well – vocab.= poor/no paragraphs	Simply a “created essay” – no planning / confused / garbled. No clarity.  No understanding.

Note : when marking out of 40 double the mark you select from the table before you enter it in the table above.

THE ASSESSMENT SHEET BELWO MUST BE SHARED WITH YOUR PEER.  EACH OF YOU SHOULD HAVE THREE ASSESSEMNT PARTS.

YOU MUST CUT OUT EACH PART AND PLACE IT IN THE COVER OF THE CASSETTE YOU ASSESS.

Note : when marking out of 40 double the mark you select from the table before you enter it in the table above.

THE ASSESSMENT SHEET BELWO MUST BE SHARED WITH YOUR PEER.  EACH OF YOU SHOULD HAVE THREE ASSESSEMNT PARTS.

YOU MUST CUT OUT EACH PART AND PLACE IT IN THE COVER OF THE CD YOU ASSESS.

Assessor’s Name:	ASSESSED WORK OF :
GRADE :	DATE:	GRADE:	ASSESS. _1_/3
NO.	ASPECT	MARK	POOR	SATISFACTORY	SENSIBLE	GOOD	EXCELLENT
1	Main article	40
2	Secondary article	20
3	Advert	20
4	Letter to editor	20
**	TOTAL
Assessor’s Name:	ASSESSED WORK OF :
GRADE :	DATE:	GRADE:	ASSESS. _2_/3
NO.	ASPECT	MARK	POOR	SATISFACTORY	SENSIBLE	GOOD	EXCELLENT
1	Main article	40
2	Secondary article	20
3	Advert	20
4	Letter to editor	20
**	TOTAL
Assessor’s Name:	ASSESSED WORK OF :
GRADE :	DATE:	GRADE:	ASSESS. _3_/3
NO.	ASPECT	MARK	POOR	SATISFACTORY	SENSIBLE	GOOD	EXCELLENT
1	Main article	40
2	Secondary article	20
3	Advert	20
4	Letter to editor	20
**	TOTAL
Assessor’s Name:	ASSESSED WORK OF :
GRADE :	DATE:	GRADE:	ASSESS. _1_/3
NO.	ASPECT	MARK	POOR	SATISFACTORY	SENSIBLE	GOOD	EXCELLENT
1	Main article	40
2	Secondary article	20
3	Advert	20
4	Letter to editor	20
**	TOTAL
Assessor’s Name:	ASSESSED WORK OF :
GRADE :	DATE:	GRADE:	ASSESS. _2_/3
NO.	ASPECT	MARK	POOR	SATISFACTORY	SENSIBLE	GOOD	EXCELLENT
1	Main article	40
2	Secondary article	20
3	Advert	20
4	Letter to editor	20
**	TOTAL
Assessor’s Name:	ASSESSED WORK OF :
GRADE :	DATE:	GRADE:	ASSESS. _3_/3
NO.	ASPECT	MARK	POOR	SATISFACTORY	SENSIBLE	GOOD	EXCELLENT
1	Main article	40
2	Secondary article	20
3	Advert	20
4	Letter to editor	20
**	TOTAL