Final - Appendices Attached

Charlotte Forster (4893416)
EDCURSEC700: Assignment Three

The ensuing essay acts as an extended justification and analysis of an eight-lesson unit implemented
whilst on placement at Onehunga High School with a Year 10 (Academic Extension) English class,
that aimed to realise principles of culturally responsive teaching (hereafter CRT) (as postulated by
Gay, 2002). For reference purposes, the plan for the eight-lesson unit is attached at Appendix One,
and two fully-developed lesson plans from that unit (Lessons Three and Eight) are attached at
Appendix Two.
The Starting Point: Understanding Cultural Responsivity
The starting point to a justification and analysis of the unit is to expatiate upon the understanding of
CRT that has informed its content and implementation. CRT, as understood herein, requires teachers
to make learning available in ways that students can understand (Rajagopal, 2011) by using what is
known about students to give them access to learning (Villegas & Lucas, 2002, p. 27).
Culture in CRTs terms is a social construct, established by consensus of individuals amongst a
social group (Spencer-Oatey, 2012, p. 8), which influences persons ways of knowing and being in
the world (Student Achievement Division, 2013, p. 1). Influences on culture will include: ones
countries of occupation and origin; regional or local location; ethnic, linguistic, political or religious
affiliation; socio-economic status and class; family structure; sexual preference and gender identity;
place of work or schooling; generational position and age; role category (e.g. parent, student); dietary
preferences; educational level; and ability or dis-ability (Hofstede, 1991, p. 10; Avruch, 1998, pp. 1718; Brown-Jeffy & Cooper, 2011; Jegede & Aikenhead, 1999, p. 46). Such influences work
intersectionally on a person at any given time, a person will be subject to simultaneously-operating
layers of mental programming that impact: their values and beliefs; the way in which they interact
with the world; the information and skills to which they attribute importance (Solano-Flores & Nelson
Barber, 2001, p. 533); their concept of self and orientation towards community (individualism vs
collectivisim); sense of responsibility (universalism vs particularism) 1; concept of time (monochromic
vs polychromic)2; perception of the locus of control for ones behaviour (internal vs external) 3; and
style of communication (indirect vs direct)4 (Cartledge et al., 2009; Bertani et al., 2010, pp. 27-30).
1 Universalism requires the application of rules and punishments universally, regardless of context.
Particularism requires rules and punishments to be applied varyingly, in consideration of context.
2 Monochromic perceptions of time conceive of time as limited (and therefore require it to be used
efficiently). Polychromic sense of time conceive of time as limitless.
3 A perception of ones locus of control as internal entails the view that one is in control of ones fate,
whereas a perception of ones locus of control as external entails the view that ones fate is subject to
the control of outside forces (a deity, or fate).
1
The imperative to respond to these manifested differences is pressing. Students perform best where
they perceive compatibility between their culture and learning environment (Mahuika & Bishop,
2011, p. 189). Where such parity does not exist, the risks are student alienation, disengagement and
academic underachievement (Hanly, 2007, p. 150; Greenwood & Te Aka, 2009), and students
socialisation into the perpetuation of the very system that oppresses positivisation, manifestation or
recognition of the differences they embody (Foucault, 1972, p. 227).
Understanding the Unit as Culturally Responsive
CRT is a strategy that occurs across three dimensions:
The Curricular Dimension: the provision of a curriculum which connects to students real
lives and develops students critical capacity to resist the norms imposed by the hidden
curriculum that presumes homogenised culture (Abdal-Haqq, 1994; Gay, 2002, p. 108);
The Instructional Dimension: management of the classroom so as to demonstrate high care
and expectations of all students (Foster, 1997, p. 42) and build community amongst diverse
learners (Gay, 2000, p. 52); and

The Personal Dimension: the development of a personal mind-set that is genuinely curious
about students culture (Gay, 2002, p. 106), understands the impact of culture on diverse
students learning experience (Smith, 1998), and guards against deficit thinking (Richards,
Brown & Forde, 2006, p. 5).
The unit was deliberately constructed so as to oblige each of these elements. The justification for its
form in terms of each dimension is set out in the ensuing section.
The Units Curricular Dimension
The text selected for study in the classroom, Avatar, was selected on the basis that it was suited to
oblige the demands of the curricular dimension. CRT requires the provision of texts that:
Are appropriately complex for students of all abilities;

Reflect diverse perspectives;
Engage students with critical literacy;
Reflect student identities, experiences or motivations (text as mirror) or provide insights
into the identities, experiences and motivations of others (text as window) (Teaching
Tolerance, 2016, p. 1).
Avatar was adjudicated to fulfil these requirements on the basis that:
4 Direct communication is concerned with speaking plainly, speaking whats on ones mind and
removing emotion from speech. Indirect communication is concerned with speaking in detail,
obscuring meaning and using emotion in speech.
2
Complexity: The class taught was a Year 10 Extension Class with 20.3% of students working
at 5A level or above (in reading). The film was adjudicated appropriate for all students, since:
o The film is appropriate as a Level 6 Text (NZQA, 2016), and thus meets the
o
complexity needs of students working at that level;

The film represents a scaffolded opportunity for acceleration (Rudham, 2013) for the
class remaining students. Students were already familiar with themes of
environmental degradation (as it relates to human greed) from their short-text study
that immediately preceded the unit5 and were thus primed to accelerate to a faster rate
to keep up with the learning of their higher-ability peers in the classroom (Pepper
Rollins, 2014).
Diversity: Where students do not feel reflected or represented in the texts they read, they feel
devalued in their society (Bishop, 1990a, p. 557). The text presents an empowering picture of
a diverse range of protagonists, which include: indigenous groups 6, characters of colour,
female characters, bilingual characters, religious and irreligious characters, characters with
varying intellectual ability, and a character with a physical disability. While some slurs are
used7, they originate from characters framed villainously and are thus internally framed in
the film as unacceptable and inappropriate. The text, therefore, was conceived of as providing
a basis for all students in the class to personally connect to some degree;
Critical Literacy: The text provides opportunities for two instances of critical literacy in its
study:
o It explicitly invites students to challenge structures of power (inside and outside of
o
the text) that permit human and environmental colonisation;

It provides an opportunity for class discussion as to structures of power in storytelling more generally; the film, for instance, has been accused of venerating a white
saviour (to a minority culture) narrative and romanticising indigenous culture
(Lyubanksy, 2009);
Reflects Students Identities and Experiences: The film provides flexibility for students to
utilise it as a mirror or window:
o Mirror: Any student with a perceived cultural or spiritual connection to the
environment is permitted to witness themselves in the Navi (Tschida, Ryan &
o
Ticknor, 2014, p. 29);

Window: The text provides students with insight into the real-world loss of land
of multiple indigenous cultures presently and historically (National Center for
Culturally Responsive Educational Systems, 2006, p. 5).
5 And the kinds of visual features likely to be associated with the establishment of such themes.
6 The indigenous minority of the film is mythologised, and does not speak to any one ethnic minority
group indirectly however, this does not necessarily preclude identification (Alanis, 2007, p. 31).
7 In relation to indigenous groups (savages) and disabled bodies (meals on wheels; special K).
3
The aspiration for the text was that students would through a shared experience of the text come to
realise that others in the class shared similar or diverse connections to homeland, and come to
acquire sympathy for all such connections (sufficient to rebel against the destruction of those
homelands) (Day-Vines & Day-Hairston, 2005, p. 20; Bertani et al., 2010, p. 31).
The Units Instructional Dimension
A number of steps were taken to ensure that the unit was designed as instructionally responsive.
First, multiple opportunities were provided for students to engage in the collaborative process of coconstruction a task that realises CRTs aims by publically valuing students diverse perspectives and
opinions (Bertani et al., 2010, p. 69; Jegede & Aikenhead, 1999, p. 45; Sheets, 2005, p. 14). These
opportunities included:
Instances of student-led questioning sessions (Lessons Five, Seven and Eight) (Bateman,
2013, p. 5);
Instances of teacher-led questioning sessions, designed to guide students towards coconstructive understanding of the text (Lessons Four, Five, Six, Seven, and Eight) (Holster,
2006, p. 1);
Use of explicit (exit cards and questionnaires) and implicit (anecdotal behavioural
observation) student feedback to drive future learning (Lessons One, Five, Seven and Eight)
(van Schalkwyk, 2015, p. 60); and

Provision of some student self-management in Can-Do and Must-Do Activities, and choice
of comparative texts (Lessons Six and Seven) (Brough, 2013, p. 14).
Secondly, I endeavoured to activate and make use of students prior knowledge and interests to drive
the thematic focus of the unit (Rajagopal, 2011; Student Achievement Division, 2013, p. 5) through
activities such as: initial student questionnaires and film ratings (Lesson One), a CLOZE exercise to
establish students understanding of camera techniques (Lesson One) and a short free-write in which
students explained a personal connection to an environmental location (Lesson One).
Thirdly, I endeavoured to provide differentiated opportunities for students to undertake and
demonstrate learning, in recognition of the fact that students are not homogenous (in ability or
interest) by virtue of chronological age and therefore will not benefit from uniform instruction
(Tomlinson et al., 2003, p. 119; Ministry of Education, 2012, p. 57; Grigorenko & Sternberg, 1997).
Differentiation occurred:
By interest: students were permitted to close-view the opening scene of the text through a lens
of preferred techniques (Lessons Two and Three);
By readiness: accelerative and enrichment resources were provided to high-ability students

(Lessons Four, Five, Six and Seven) and additionally scaffolded resources were provided to
struggling students (Lessons Two, Four, Six and Seven);

By learning style: students were variously permitted to engage in individual, pair and group
work to satisfy all variations on social learning preferences, and students were provided with
oral and written opportunities to demonstrate learning.
Differentiation did not always oblige student will. In Lesson Three students were obliged to diversify
and extend upon an area of discomfort (Gutierrez, Baquedano-Lopez and Tejeda, 1999, p. 289) by
close-viewing a scene through a non-preferred lens off techniques.
Finally, I endeavoured to instruct the class utilising responsive classroom management strategies,
designed to ensure that not student would be alienated from the classroom through a failure
(influenced by culture) to recognise or understand its behavioural or academic expectations
(Metropolitan Center for Urban Education, 2008, p. 2; Black, 2006, p. 5). Specific steps included:
Maintenance of the existing behavioural rules co-constructed by students with their usual
instructor, as a demonstration of respect for their view of the classroom space and its
operations (Bertani, 2010, p. 70; Kerr & Nelson, 2010, p. 464);

Consistent application of agreed-upon consequences for deviations from expected behaviour
(Weiner, 2002, p. 310);

Explicit and repeated positing of high academic expectations for all students (Weiner, 2002, p.
308);
Fostering of positive classroom relationships through such steps as: meeting students at the
door, showing an interest in extracurricular activities and commenting on achievements
(Marzano et al., 2003, p. 64; Brown, 2003, p. 279; Gay, 2007, p. 48);
Encouraging positive behaviour through pre-correction and active supervision rather than
punishment, where possible (Bertani et al., 2010, p. 52).
The Units Personal Dimension
The provision of personal responsivity in the unit was intended to occur through two key processes.
First, I endeavoured to aggregate as significant knowledge about my students (Delpit, 1995), through
such steps as: aggregating e-asTTLe scores, reviewing previously completed work in short-story unit,
and obtaining behavioural, personality, and academic reports from the regular classroom teacher
regarding individual students (Gay, 2002, p. 108). In addition, prior to commencement of the unit, I
spent a great deal of time in conversation with students, as they prepared for delivery of a speech.
Topics were of their own selection, and thus presented an opportunity to gain insight into students
personal fields of interest. I noted students were particularly interested in issues of racism, bullying
(or other use of power through violence), and climate change. Students interests informed the
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selection of Avatar as the appropriate text and initial conceptions of theme that would drive the unit
(Noguera, 2013).
Secondly, I made a personal commitment to recognise students cultures in the classroom, by
validating their unique perspectives on the text through as many opportunities for co-constructive
learning and analysis of the text as possible commencing with a personal free-write regarding their
own connection with their natural environment (Lesson One) and completion of questionnaires
regarding their relation to and rating of the film (Lesson One) (Gay, 2002, p. 110).
A Reflection on the Units Implementation
The starting point for reflection as to the units implementation is a recognition that generally, the
drawing of conclusions or making of generalisations regarding students behaviour and attainment in a
classroom after such a limited observational time (8 lessons) is not appropriate in the exercise of CRT,
since it risks reliance on presumptions to supplement sparse evidence (Gutierrez & Rogoff, 2003, p.
23). However, in this instance, given the constraints of this assignment, reflection will occur
regardless, with a vigilant eye to avoiding this pitfall and with full recognition that this is a departure
from the full cultural responsivity aspired to in this unit.
Each dimension of responsivity (set out in the section above) will be considered in turn.
A Reflection on Curricular Responsiveness
Given that Avatar was selected as the text for the unit, on the basis of its potential for responsivity, its
success in promoting student input and personal response was of utmost import. As such, during
viewing lessons, students engagement was tracked through behavioural observation (see Appendix
Three for raw observational data). Students were registered as engaged where they were obviously
tracking the films progress8 and disengaged where they were fully or substantially engaged in an
activity unrelated to viewing.9 The data revealed students were not generally engaged across the full
viewing experience only 29.16% of students tracked as fully engaged with the film. 10 Male students
were more engaged than female students, and Pkeha students were more engaged than non-Pkeha
students. This lack of strong interest was confirmed by student responses to an initial questionnaire
provided immediately after viewing the film. Half the class rated the film three stars or fewer (see
8 Either obviously tracking the films progress (keeping eyes on the screen, filling out the during viewing
question sheet, or registering visible emotional response to the film, or predominantly engaged in tracking, with
mild attention to another activity (whispered discussion, or observing classmates reactions) (Alimoglu et al.,
2014).
9 Such as use of a mobile phone, starting out the window, drawing on the during viewing question
sheet, or engaging in conversation obviously independent of the film (Alimoglu et al., 2014).
10 Absences were tracked as engagement.
6
Appendix Four). Student questionnaires showed that while students generally felt positive about the
films effectiveness in encouraging sustainable use of resources, they were less ready to identify with
its key protagonists (Jake Sully and the Navi).
Students disconnect to the Navi was concerning, since it was these characters plight that was
intended to prompt students self-reflection on their personal relationship with the environment the
text-to-self connection required to demonstrate deep understanding of the text (Tschida, Ryan &
Ticknor, 2014, p. 29; Bishop, 1990b). If students were disengaged from the text, they would likely
disengage from the class, and their academic attainment would suffer (Ivey & Guthrie, 2008, p. 123).
I considered the circumstance, and postulated the following potential reasons for lack of response:
Students had not felt an immediate personal engagement with the text, because:
o They did not have sufficient skills to undertake a personal engagement; or
o I had unfairly essentialised the culture of my students, and presumed that they would
all manifest a strong connection with:
The idea of a personal connection to the environment; and/or
The narrative of destruction of indigenous culture (through environmental
degradation) (Carter, 1993, p. 52), when, in fact, the issue and images of the
text simply were not relatable to them ; or

Students had felt a personal engagement with the text, but had felt uncomfortable sharing the
connection the film had made with their personal culture in a public forum. 11
As such, I attempted to revise the unit so as to respond to these potential barriers to participation.
First, I revised the units thematic focus to position the text as a window rather than a mirror, 12
since treating texts as windows is typically less discomforting for students, and does not rely on
students willingness to bring personal culture to the classroom (Tschida, Ryan & Ticknor, 2014, p.
31). Lesson Eight was modified to shift focus from writing a personal response to the text, to
connecting Avatar to external real-world events (the destruction of the Amazons uncontacted
tribes). In this sense, text-to-self connections in the classroom were rendered optional, in order that
11 Bringing culture to the classroom can be perceived as an invasive task. Jones (1991), for instance,
notes that some Mori knowledge is not available to non-Mori and will not willingly be shared with
its first being earned (p. 311). Tupuola (1998), similarly, argues that the demand for knowledge of
faa Samoa cannot always be obliged some students (especially young females) are not permitted to
speak of it. Finally, even where students are permitted and willing to speak on cultural knowledge, it
may be that the task is alienating. Bhabba (1994), for instance, notes that an expectation of dialogic
pedagogy can be perceived as a form of colonial surveillance by minority students (p. 192). Minority
students can often resent being called upon as objects for white students lessons on culture (RickerWilson, 1998, p. 70).
12 As had initially been intended, as a means of encouraging students to bring personal culture to the
classroom (Gay, 2002, p. 106).
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students were not left feeling compelled to import a culture into the classroom which they wished to
retain as sacred. Secondly, I endeavoured to render text-to-self connections more accessible for those
students that wished to import their culture to the classroom, by:
Scaffolding text-to-self connections through guided notetaking of text-to-self connections

(Lesson Four), and providing a worksheet which scaffolded students to personal response
using a simplified version of Blooms Taxonomy (Lesson Seven) (see Appendix Six);
Modelling personal engagement with the text by narrativising my own personal response to
the text immediately preceding any activity that required text-to-self connection (see
Appendix Seven for mentors record of this) and praising instances of students voluntary
sharing of text-to-self connections (see Appendix Eight for mentors record of this) (Frisch,
2016; Mason & Giovanelli, 2015).
The results of this intervention were positive. Co-constructed whiteboard work (in Lesson Seven)
(see Appendix Nine) shows students increasing comfort with making text-to-self connections.
Visiting Professional Expert notes from Lesson Eight also attest that students were, by that stage,
volunteering text-to-self responses in the class, which drew on personal culture 13 (see Appendix Ten).
Students revised questionnaires and film ratings from Lesson Eight (see Appendices Eleven and
Twelve) demonstrate their increased engagement with the film and willingness to use individual
perspective in its interpretation. As such, I consider that the unit emerged as sufficiently responsive in
this regard students eventually became comfortable with the prospect of bringing their personal
culture to the classroom, and utilising that knowledge to understand the text.
Nonetheless, I retain some qualms regarding the units overall curricular responsiveness. In particular,
I am concerned that the curriculums critical aspirations were not met. While, in Lesson Eight,
students began to understand the power structures posited inside the text (in a students idea that
everywheresome people take other peoples land), the full critical potential of the unit was not
explored students did not come to appreciate the power relationships occurring outside the text (the
decisions made in storytelling).
Students inability to connect with the Navi, for instance, might have been founded on the
romanticisation of indigenous culture that they represent, that departs from the lived experience of
existing indigenous groups (Heinecke, 2008). Indeed, it was notable that the class Mori indigenous
students were least likely to engage with the text at the outset, despite their seemingly obvious
potential for personal connection. It might have been more responsive to utilise this disconnect as a
vehicle for discussion (Jones & Clarke, 2007, p. 96): is the film realistic in its portrayal of indigenous
13 For instance, one Mori student identified that the Navis invasion by humanity might be
compared to the experience of colonisation by New Zealands Mori. Another (African) student
commented: This is what people do everywhere. They go in and just take peoples land. Its
horrible.
8
groups? Dos it raise sympathy for the real-life indigenous groups it is supposedly fighting for? Why
would a director construct a film in this way, if he was intending to invoke support for these groups?
Even if students had not agreed with this view, the very act of disagreement on the films validity
could have introduced a powerful conversation to students about differences in perception, and how
these are influenced by cultural location (Clarke & Whitney, 2009, p. 533). In future then, it may be
that I ought to more readily take advantage of dissent or disconnect in the classroom, as a means to
promoting the critical aims of CRT, rather than running in fear from the prospect of undermining
pre-existing planning.
A Reflection on Instructional Responsiveness
In general, the realisation of instructional responsivity strategies worked well in the classroom.
Mentor feedback across the unit (see Appendix Thirteen) noted the consistent reinforcement of high
academic and behavioural expectations, and its corresponding effect on student behaviour. Visiting
Professional Supervisor feedback (see Appendix Fourteen) confirmed the effectiveness of these
strategies in establishing class compliance and cognitive engagement.
However, issues arose during the provision of the first group-work activity (in Lesson Three), which
problematisied the provision of responsivity. Students were engaged in a Round Robin activity (for
details, see Appendix Two). Examples of student work at Appendix Fifteen demonstrate that
students were generally well-engaged during the task, and produced a high volume of work. Mentor
feedback (Appendix Sixteen) confirms students generally fruitful work.
However, the task occurred imperfectly First, some students were reluctant to participate and avoided
participation either actively (by engaging in another task) or passively (by quickly dropping out,
despite capacity to continue further). The issue with this was twofold. First, students that failed to
participate in the class failed to realise the learning outcomes of the lesson (to derive a deep
understanding of how filmic techniques can create an effect, and understand the benefits of
collaborative activity), and thus, its academic benefits. Secondly, students risked compromising
positive peer relationships in the classroom and the communal learning environment which CRT
endeavours to establish; students resent unequal shares in group work (Robinson, 2003, p. 246), and
when they are obliged to work to compensate for others failings, this can lead to souring of
relationships and unwillingness to participate in later tasks (Barrett et al., 2015).
Much of the blame for this outcome lies with me. I failed to recognise that not all students are
culturally-conditioned to respond well to the prospect of competitive discourse (Shindler, 2009), and
others may struggle with quick-fire styles of speech. 14 In addition, my instructions prioritised the
14 Several academics, for instance, note that ethnic minority students are more likely to utilise a
communicative style that is nondirect, and involves conversational discourse, embedding talk with feelings, a
rambling and disjointed style and use of indirectness (Kochman, 1981; Au, 1993; Gay, 2000, p. 96).
processing outcome of the group (the production of an A3 sheet of listed techniques) over individual
learning15 (Sheehy, 2004, p. 183). As such, students incentives were perverted for participation, and
students were not made to feel that their individual contributions had particular value a violation of
CRT principles (Gay, 2000, p. 52). To avoid this outcome, I might have relied on several strategies:
Modelling the required quick fire response style for students and providing students with an
opportunity to practise this style prior to the activitys implementation, such that all students
were comfortable with it sufficient to participate (Bertani et al., 2010, p. 61);

Emphasising that the purpose of the competition was to grow and learn, rather than to protect
self-image (to dispel student discomfort or sense of exposure with the competitive style)
(Shindler, 2009; Sharan, 1976, p. 22);

Targeting students with known passivity issues prior to the completion of the activity,
ensuring they have sufficient answers to volunteer and providing self-efficacy-enforcing
verbal encouragement to volunteer these answers (McKeachie et al., 1986, p. 54; Bandura,
1977, p. 198);
Holding students accountable for participation by ensuring contributions were labelled with
contributing partys names, and following up with students not labelled as contributing
(Davies, 2009, p. 575; Freiermuth, 2001).
The implementation of a more responsive consideration of my students attitudes would have ensured
a more successful lesson for all concerned. In future, I will be certain to dwell more extensively on
(and remove) the possible social barriers to participation in any group or competitive activity to
ensure all students are able to participate in the class with equal enthusiasm, and thus enjoy a
culturally responsive experience.
A Reflection on Personal Responsiveness
CRT requires teacher accountability and genuine self-reflection of ones teaching beliefs and
behaviours in a manner that can sometimes be confronting (Gay & Kirkland, 2003, p. 181). It is
insufficient to profess a benevolently respectful attitude towards students, and assume that this will
carry into behaviour rather, it is crucial to recognise that one can act in such a way as to obliterate
attempts at cultural responsivity, without any intention to do so (Gay & Kirkland, 2003, p. 184).
In implementing the unit, I feel victim to the assumption of benevolence during my questioning
practices. The literature on questioning notes that despite best intentions teachers are often prone
to bias in the distribution of questions and selection of answerers. Boys are disproportionately more
likely to be called upon to answer questions (Altermatt, Perry & Jovanovic, 1998, p. 516), as are high-
15 Students were informed that the value of the task would lie in the communal set of notes produced
in the activity.
10
achieving students (Cotton, 2016, p. 3) and students positioned closest to the front of the classroom
(Walsh & Sattes, 2005).
During Lesson Seven, after feedback from my mentor that my attention was not always directed
consistently around the room (see Appendix Sixteen), I tracked the direction of my questioning and
selection of answerers by means of a student seating plan (see Appendix Seventeen). As that
Appendix shows, I had (unknowingly) epitomised the literature:
When calling on non-volunteers to answer questions, I was most likely to call upon students
on the left-side or at the front of the classroom, and call upon male students;
When selecting answerers from volunteers, I was more likely to call on high-ability students
over low-ability students.
This instance of unconscious bias was particularly dangerous for intentions to establish a culturally
responsive learning community, since such selections would have established differential expectations
of behaviour and performance for various students (Villegas & Lucas, 2007, p. 25), thus impeding the
universally high expectations I sought to manifest as a culturally responsive practice. Ethnic minority
students are particularly susceptible to such deviations in expectations if they are not called upon in
class, they are likely to stop trying to contribute (Milner, 2007, p. 243). Appendix Seventeen appears
to show the realisation of that reality the majority of students that did not volunteer to answer
questions were non-European.
For the future, it will be crucial that I ensure the more equitable distribution of questions across the
classroom. It might be appropriate to track students selected for answer more closely to ensure
questions are distributed across at least half of the class each lesson. In addition, it will be important
for me to engage in an exercise of self-reflection, and examine the internalised beliefs that may have
informed this preferential behaviour.
Of course, it may be that that ethnic minority students non-participation was caused by other factors.
Culture will influence students views of what participation is required in the classroom (Liu, 2002,
p. 48). As such, it will also be necessary for my questioning to take into account these cultural
influences, and revise the implementation of questioning to ensure students feel encouraged to answer
questions, through such acts as:
Explaining to students the value of dialogic pedagogy over learning via transmission (Philips,
1970, p. 387; Chan, 1999, p. 30);

Establishing a culture of non-humiliation around public oral errors (Beckman-Brito, 2010, p.
28; Oxford et al., 1992, p. 445);

Providing more extended wait time, or opportunities for peer consultation, prior to calling on
students to answer questions (Villegas & Lucas, 2007, p. 25);
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Establishing that attempting to answer questions is a demonstration of respect to the teacher

(and not a violation of their speaking rights in the classroom) (Beckman-Brito, 2010, p. 24;
Farver et al., 1995, p. 1097); and

Enquiring with students as to any protocols of discourse that would make them feel more
comfortable to participate in question-answer sessions (Gay, 2002, p. 107).
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Appendix One
Unit Title: Avatar Film Study
Themes of the Unit
Primary Theme: The cruel and destructive influence of
human greed as it manifests in environmental
degradation and the consequent disruption of the
intricate functions of the ecosystem.
Secondary Theme (primarily for Extension
Students): The colonisation (and destruction) of the
environment also manifests in the colonisation (and
destruction) of culture; humans identities and values are
tied to the environments in which they originate.
Year Level
Year Level: Year 10 (Academic Extension)
Duration of the Unit

The unit is presently scheduled to last for two weeks,
across a total of eight one-hour periods.
(NB: This unit is a preliminary coverage of the text
only. The film will be returned to later in the year by
the class teacher. As such, in actuality, the unit
presented to students will have a more extended
duration than what is presented here).
Curriculum and AsTTle Level of the Unit
Curriculum Level: 5
(NB: based on previous assessment performance,
approximately 10% of students are already working at
5A level, and another 10% are operating above
curriculum level. As such, the unit has been designed
to offer opportunities for students to extend their
thinking beyond curriculum level).
AsTTle level: 4P-6P (across differentiated resources)
Introduction
The unit uses James Camerons film Avatar as a vehicle to explore social issues of environmental and cultural
degradation (and the interrelationship between these). It comprises one-third of the Viewing and Presenting
module at Onehunga High School, and immediately precedes a Static Image unit in which students may elect to
deal with the texts themes in a visual manner.
Values highlighted in the unit
Excellence aiming high and persevering
Innovation, inquiry and curiosity

Diversity culture, language and heritage
Respect for themselves and others

Equity fairness and social justice
Community and participation for the
common good
Care for the environment
Integrity accountability, honesty and
acting ethically
How students will be encouraged to develop the selected value

or values during the unit
The text will introduce themes of: (a) the importance of care for the
environment and sustainable attitudes towards its use; (b) the
destructive impact of human greed on the environment and culture;
and (c) the value of cross-cultural dialogue, understanding and
respect;
Students will engage in personal response activities, in which they
will be encouraged to situate themselves in relation to their
environment and consider how it has shaped their experiences,
perspectives, and person (culture). Sharing of these narratives will
encourage students to appreciate the heritage and culture of others,
and understand the universality of human attachment to the
environment;
Students will be engaged in character-driven activities that encourage
them to understand the motivations that drive characters in the text,
such that they come to appreciate how ones circumstances or
background can inform attitudes and behaviour;
Students will engage in cooperative and group activities, in which
they will be encouraged (or required) to utilise the expertise of their
classmates to attain educational outcomes they should come to
appreciate the diversity in perspective and knowledge of their
13
classmates, and the value of cooperative activity;

Students will be introduced to real-world instances of environmental
degradation, and encouraged to think about how they might
demonstrate respect for one another through environmentallyresponsible choices.
Key competencies highlighted in the unit
Managing self self motivation, personal goals,

appropriate behaviour, resourcefulness, sense of self and
importance of heritage
Relating to others listen actively, recognise different
points of view, negotiate and share ideas
Participating and contributing balancing rights, roles
and responsibilities, and responding appropriately as a
group member
Thinking using creative, critical, metacognitive and
reflective processes, drawing on personal knowledge
and intuitions
Using language, symbols and texts interpreting
language and symbols, using ICT, recognising how
choices of language and symbol affect peoples
understanding
How students will be encouraged to develop the

selected competency or competencies during the
unit
Students will engage in close analysis of various film

scenes, and analyse how manipulation or persuasion of
an audience occurs through use of various filmic effects.
Ensuing questioning sessions will introduce students to
the idea of critical or sceptical reading the notion that
they are free to read the text as effective/ineffective at
portraying ideas;
Students will be explicitly scaffolded through a
metacognitive strategy for identifying and discerning the
meaning of symbols in texts, and asked to reflect on the
effectiveness of this strategy (to establish metacognitive
capacity);
Students will be explicitly scaffolded through various
written and oral responses to the text (which will invite
personal response), and thereby will come to consider
the structural demands of different forms of
communication and learn to draw on personal
knowledge when analysing a text;
Graphic organisers and guided questioning with lead
students through metacognitive strategies for text
processing, and exit cards will encourage students to
reflect on their learning;
Instances of student-led questioning will encourage
students to critically reflect on their own learning needs
and gaps in knowledge, encourage them to share
interpretations of the text, and lead them to discern the
value of dialogic and communal modes of learning;
Pair and group-work opportunities will encourage
students to listen and participate actively in their
community, and offer the opportunity to witness the
value in their peers and own ideas;
A debate activity will encourage students to understand
how ones socio-cultural location will influence ones
point of view.
Achievement Objectives
Making Meaning
Listening Reading Viewing
Processes and strategies
Purposes and Audiences
Ideas
Language Features
Structure
Creating Meaning
Speaking Writing Presenting
Processes and strategies
Purposes and Audiences
Ideas
Language Features
Structure
14
LEARNING OUTCOMES
Students will
(a) Be able to identify visual, sound and camera effects
in a visual text;
(b) Understand and be able to explain that such effects
are deliberately used in visual texts to communicate
ideas and position an audience to accept these ideas;
(c) Utilise understanding of such techniques to link
with ideas in the text.
Demonstrate an understanding of key ideas in the text,
and understand how these are effected through functions
character, setting, symbolism or events.
Make connections between the text and:
Personal experience;
Previously studied texts; and/or
Societal issues/concerns/events.
Express the aforementioned connections and ideas
orally (with supporting evidence from the text), or in
writing (in short-answer full sentences, and in SEXY
paragraphs).
Appropriately utilise key vocabulary orally and in
writing.
Be able to actively collaborate (with a partner and in
groups) to produce a written product that synthesises
various ideas.
Reflect on the passage of their learning, and identify
areas of deficiency or strength.
How students will learn
CLOZE and matching activities which permit students

to build a repertoire of visual, sound and camera effects;
Close viewing of scenes that establish setting, character,
or build upon important events, with a view to
establishing a repository of (examples of) techniques;
Quote-matching activities to build a repository of
character information;
Scaffolded writing exercises, using graphic organisers,
which guide students towards the establishment of
theme;
Group activities, in which students must collaborate to
postulate and maximise interpretations of the text;
Notetaking on matters of vocabulary, symbolism and
character;
Teacher-led and student-led questioning sessions
regarding key themes;
Venn Diagram construction, in which students must
compare the experience of Navi to themselves or a
cultural group;
Personal diarising activities, in which students must
reflect on their own relationship with their environment,
and the relationship of a character in the text with the
environment;
Film-based and vocabulary-based quizzes;
Exit cards, summarising learning from the lesson and
making suggestions for future tasks of use.
Resources
Base Texts
Avatar (dir: James Cameron)
Additional Texts
Amazon Railway (Newspaper Article)
The Uncontacted Tribes (Youtube Clip)
The Seahorse and the Reef (wr: Witi Ihimaerra)
No Ordinary Sun (wr: Hone Tuwhare)
Key Vocabulary
Environmental: degradation, destruction, biodiversity, conservation, conservationist, sustainability, deforestation,
ecosystem.
Cultural: indigenous, cross-cultural, racism, prejudice, stereotyping, slur, colonisation, spiritual.
15
Diagnostic: What do they know?

What can they do?
CLOZE camera angles test;

Do Now visual and sound
features quiz;
Initial questionnaire and class
discussion regarding response
to the film and film-rating;
Answers to during watching
question sheet;
Completion of personal
response regarding relationship
to the environment.
Assessment
Formative: Individual and group
feedback and feedforward. What are
they learning? What do they need to
learn?
Completion of scaffolded
worksheets on symbol, character
and theme, and comparative
activities on character and theme;
Completion of quizzes regarding
vocabulary and key points of filmic
interest;
Participation in class character
debate;
Completion of character spectrum;
Participation in teacher-led
questioning sessions;
Volunteering of questions during
student-led questioning sessions;
Contribution to group and pair work
activities.
Summative? What have they

learned? Can the students
explain how they learned it?
Opportunities for
metacognition and student
evaluation of activities
Completion of Beyond the
Text Venn Diagram
activity;
Re-visiting and justification
of questionnaire and filmrating;
Scaffolded essay on the film
(nb: to be completed at a
later date).
All text underlined below represents lessons, the content of which was altered following the original
planning period, in response to student feedback or conclusions of the instructor.
Bolded Lessons are those for which further detail is provided at Appendix Two.
Timing
Pre-Unit
Lesson One
(Introduction
and
Diagnostic
Assessment)
Lesson Two
(Filmic
Techniques
and Setting)
Sequence of Learning and Content

Viewing of film, and completion of while watching questions.
Short written personal response regarding a personal environment of significance, and class
discussion~;
CLOZE and matching camera angles test, using shots from the Avatar film and class
discussion of answers;
Revision of while watching questions;
Completion of after watching questionnaire and film rating (handed in as exit cards).
Do Now: Visual and Sound Effects Quiz;
Begin vocabulary lists;
Students self-select a set of effects in which they wish to become expert (sounds, visual or
camera techniques) and close-view opening scene (scene viewed x2, with class discussion
breaking up viewing and scaffolding second viewing) ~;
16
Lesson Three
(Setting
Contd and
Character)
Lesson Four
(Character)
Lesson Five
(Character)
Students complete an effects of techniques table with assistance from instructor ~ with
modelled sentence explanations.
Do Now: Plot Summary CLOZE (new vocabulary for lists) and Character Lists;
Round Robin Competition in Expert Groups. Group responses collected and collated
into class notes;
Expert Groups are allocated a new set of filmic features and close-view Introduction
to Pandoras Natural Environment Scene. Individual responses collected and collated
into class notes.
Do Now: Students self-select a set of adjectives (list provided) and write a SEXY paragraph
explaining the difference between unnatural and natural environments on Pandora ~;
Teacher-led class discussion: how do these settings help us understand the differences
between humans and the Navi? Class discussion of connotation/denotation and the power of
using connotation when describing a setting;
Students engage in note-taking re: initial character impressions.
Completion of character table*~
Do Now: (a) Add to character and vocabulary list; (b) Students place characters along a
spectrum of attitudes towards the environment**
Class discussion: spectrum placement and self-placement. Introduce ideas of active vs
passive destruction of environment. How do we passively destroy environment? Ideas like:
Mobile phones, waste, agricultural and dairy industry, use of paper
Student led-questioning session: Characters;
Great Character Debate Activity (Hot-Seating Style). Students prepare in groups and
representatives speak for the characters in a fictive Navi vs Humanity debate;
Exit Cards: (a) Has your perception of any character in Avatar changed as a result of this
activity? How? (b) What do you still want to know about characters in Avatar?
** Design and complete an additional spectrum for characters attitudes towards those of the other culture.
Lesson Six
(Symbols)
Lesson Seven
(Themes)
Do Now: Must Do/Can Do Activity Worksheet: Quote-matching (Must Do) and Who Am I?
Puzzle (Can Do)*
Teacher-led discussion of metacognitive strategies for understanding symbols. Through
questioning and co-construction the class works through the first part of a graphic organiser;
Must Do/Can Do: Students complete graphic organiser for three symbols* ~ (Must Do) and
complete a rough draft for a movie poster using a selected symbol (Can Do);
Exit Cards: (a) How useful was the symbol strategy to you? (b) Did any steps in the strategy
made it easier for you to understand symbols? (c) Which step in the strategy did you struggle
to use?
Do Now: Revision table re: themes in either The Seahorse and the Reef or No Ordinary
Sun**;
Completion of 60% of Graphic Organiser*~ based on Blooms Taxonomy for Key Themes.
First Theme is completed co-constructively as a class;
TPS re: themes;
Student-led questioning session;
Add to comparative table re: themes from The Seahorse and the Reef and/or No Ordinary
Sun;
Exit Cards: (a) Most important theme from Avatar; (b) One connection between Avatar and
your short story text of choice; (c) What do you still want to know about Avatars themes?
** Complete table for both.
Lesson Eight
(Beyond the
Do Now: Completion of Themes Graphic Organiser;

17
Text)
Silent Reading: Newspaper Article re: The Awa and the Amazon;
Scaffolded Venn Diagram: The Experience of the Awa;
Teacher-led questioning session and revision of answers on the board;
Uncontacted Tribes Video;
Student-led questioning session;
Students revise their questionnaires and film ratings.
Extension and Support

Extension/Enrichment Activities provided for the
Activities provided:
following students: Seth, Caitlin, Zalikah, Harry*,
All activities marked with a * above required
Finn*, and Peter-James*.
completion of the same activity pitched at a
significantly higher level, in a qualitatively different
(Asterisked students will only receive ** activities, and only if they
manner (acceleration).
successfully complete regular classwork tasks prior).
Further support provided for the following students:

Tony, Saschia, Andy, Brandyn and Zynal.
All activities marked with a ** required the completion

of an additional activity (enrichment).
Support provided:
Additionally scaffolded worksheets and graphic
organisers;
More frequent classroom check-ins on work;
Additional probing during questioning sessions.
All activities where this kind of support is provided are
marked with ~
18
Appendix Two
Lesson Three (Setting Contd and Character)
The lessons primary emphasis is building students repertoire of techniques used in the opening scene
of Avatar, through cooperative learning, in order to introduce possible interpretations of theme and
character.
Purposive Information
Learning Outcome(s):
Students will:
(a) Identify visual and oral features and understand their effects in the filmic context;
(b) Understand how such features work together to create meaning and effect;
(c) Understand the value of contribution to collaborative classroom activities.
Success Criteria:
(TEACHER VERSION) Students will:
(a) Successfully identify at least four visual or oral features (in an expert area of choice in
visual, camera or sound features) used in the opening scene of Avatar, and explain (in 2-3
sentences) how these techniques are used to establish an impression of the man-made
setting of Avatar as hostile/cold/unnatural/unpleasant (or similar);
(b) Contribute at least two of these features (and explain their effects) to an expert group of
students during a collaborative Round Robin Activity; and
(c) Successfully identify at least four visual or oral features (in an expert area designated by
the teacher in visual, camera or sound features) used in the Jake Goes Walkabout
Scene in Avatar and explain (in 2-3 sentences) how these techniques are used to establish
an impression of the natural setting of Pandora as pleasant/desirable/preferable (or
similar).
(STUDENT VERSION): By the end of this lesson, you should have:
(a) Identified at least four film features (each) in two scenes of Avatar and explain how these
establish the natural and man-made settings of Pandora;
(b) Participated in a Round-Robin competition and contribute AT LEAST two ideas to your
group!
19
Main Key Competencies Addressed: Participating and Contributing; Using Language, Symbols and
Texts.
Main Focus Models Used: Receptive viewing; Productive writing.
Curriculum Level: 5
Resources:
Laptop, DVD and Whiteboard Projector;

Powerpoint Slides;
Plot Summary CLOZE Worksheet;
3x A3 Sheets of Paper.
Health and Safety: No issues.

Assessment/Evaluation: A3 sheets created by expert groups, and student workbooks will be
submitted at the end of the lesson for teacher review. Group participation will be monitored during the
course of activity.
Time
2.15-2.25
Activity
Students line up outside, greeting, proceed inside;
Verbal instructions re: completion of worksheet;
Students complete 2x Do Now activities: (a) CLOZE Plot Summary
Activity; (b) Add to character lists (on PPT Slide)
Materials
Plot Summary
CLOZE Worksheet
PPT Instructions
Class Gluestick Set
2.25-2.30
2.30-2.33
2.33-2.35
2.35-2.45
(approx.)
(approx.) 2.452.55
2.55-3.00
Revision of Do Now (a) answers.

Students are re-assembled into expert groups from yesterdays lesson (at
instructed points in the classroom). Chairs should be arranged in circles
and all students should have pen;
A Scribe is nominated from each group and retrieves an A3 sheet from
instructor;
Scribes are instructed to draw up a table mimicking that in their book
from yesterdays lesson;
Other students to revise their technique lists (check they are complete and
fill in any gaps or new thoughts since yesterday).
Explanation of Round-Robin Game (complemented by PPT instructions).
Students will move in a clock-wise direction nominating: (a) the name of
a filmic feature they saw used in the opening scene, and (b) providing
supporting detail of that feature [an example is projected onto the
whiteboard, mimicking the structure that students should have been using
yesterday]. Scribes will note down this information on A3 piece of paper;
Students will proceed in a clockwise direction. Where a student is unable
to offer an idea on their turn, they are out, and the task will pass to the
student on their right. The last remaining student is the victor.
Round-Robin Game played. Instructor to supervise implementation and
create sense of urgency.
Students work collaboratively to decide on explanations of effects for as
many identified features as possible.
Students expert feature areas are switched (camera->visual; visual
->sound; sound->camera);
Students watch Jake Goes Walkabout Scene (x2) and note down
PPT Instructions
3x A3 Sheets
PPT Instructions
DVD/Projector/
Whiteboard
20
3.00-3.10
3.10-3.15
features (and supporting details) in their expert area they witness.

Students independently work to fill in effect column of features table
for the features they have identified.
Pack Down: A3 Sheets and Workbooks collected for review.
Homework: None.
Teacher tasks following lesson:

Collate A3 Sheets and Student Workbook Answers into a set of class notes;
Brief review of students workbook work identify excellent ideas, spelling errors etc.
Lesson Eight (Going Beyond The Text)

The lessons primary emphasis is to scaffold students through an activity that will permit them to
make connections beyond the Avatar text to society at large. This lesson was re-conceptualised
from that originally planned, on the basis that students appeared uncomfortable making plain their
personal responses to the text. As such, this lesson was modified to focus on understanding the text as
a window to the experiences of cultures unlike our own, from an initial focus as a mirror (see
analysis in reflection section).
Purposive Information
Learning Outcome(s):
Students will show an understanding of ideas within and beyond texts, by making meaning from
two texts and establishing links between those texts.
Success Criteria:
(TEACHER VERSION) Students will:
a
b
c
Successfully complete and generate questions in relation to a reading on the Awa Tribe;
Successfully populate a Venn Diagram comparing the experiences of the fictional Navi
to those of the Awa Tribe in the Amazon Rainforest;
During the exercise of co-construction, students should be assisted in identifying:
a That the Navi are presented far more optimistically in Avatar than their real-life
equivalents;
b That the Awa are at a point of far more significant devastation than the Navi ever
reached in Avatar;
c That there is far lesser hope for the Awas rescue;
d That the Awa will lose more than their land, should this devastation continue
they are verging on extinction.
Engage in some metacognitive reflection of their learning throughout the unit
(STUDENT VERSION) By the end of this lesson, you should have:

a
Read the distributed article about the Awa Tribe of the Amazon;
21
Filled out a Venn Diagram comparing the experiences of the Navi in Avatar to those of
the Awa Tribe, and contribute some ideas to our class discussion about the Awa!
Re-read your questionnaire and ratings worksheet from our first lesson and updated it to
show how your thoughts on the film have changed/have not changed.
Main Key Competencies Addressed: Thinking; Participating and Contributing.

Main Focus Modes Used: Receptive reading; Productive writing.
Curriculum Level: 5
Resources:
Laptop and Whiteboard Projector;

Whiteboard Markers;
Powerpoint Slides;
Youtube Video: https://www.youtube.com/watch?v=sLErPqqCC54
Survival International Website: http://www.survivalinternational.org/
Health and Safety: No issues.

Assessment/Evaluation: Students completion of Venn Diagram (making connections); students
revised questionnaires and film ratings (self-reflection and metacognition).
Time
12.35-12.50
12.50-12.55
12.55-1.05
1.05-1.15
1.15-1.20
Activity
Students line up outside, greeting, proceed inside;
Verbal instructions re: completion of Themes Worksheet;
Students complete 1x Do Now Activity: Residual section of Themes
Worksheet left over from yesterdays lesson;
Liaise with absent students re: yesterdays work.
Awa Tribes article distributed and students engage in silent reading.
Brief class discussion re: article. Ask for student questions;
Instructions re: Venn Diagram activity (in particular, note the scaffolded
questions that have been provided for filling in the Venn Diagram and the
fact that the questions in the latter third will likely require a re-reading of
the text and some lateral thinking);
Teacher-led questioning session regarding the first section of the
scaffolded Venn Diagram
Potential Questions: What are the differences in physical appearance
between the Navi and the Awa? Where do they live? How big is the area
that they live in? What kinds of environments do they live in? How much
of it has been destroyed already? Have they had contact with humans?
Are they the first occupants of their land? What is their spiritual
connection to the land?
Students work independently on the Venn Diagram.
Instructor to closely monitor work.
Teacher-led questioning re: Venn Diagram. Students should co-construct
answers to additional two sections of the Venn Diagram.
Potential Questions: How much land do the Awa/Navi have left? What
are the consequences of human intervention? Who is in more danger, do
you think? How did the Navi/how are the Awa fighting back? Is there
anyone that could rescue the Awa, like the Navi were rescued? Which
group do you pity more?
Materials
PPT Instructions
Spare Themes
Worksheets
Awa Tribes Article.
PPT Instructions
Whiteboard
Markers and Space
Whiteboard
Markers and Space
22
1.20-1.25
1.25-1.30
1.30-1.35
1.35-1.39
1.39-1.40
Students copy down whiteboard work.

Teacher to distribute student questionnaires and film ratings from the
beginning of the unit.
Students are instructed they should write down any additional thoughts,
opinions, emotions or questions that occur to them as they watch the
video.
Students watch Uncontacted Tribes Video (as students watch, point out
the similarities in the initial establishing shot of the video with that of
Avatar);
Show survivalinternational website (as an FYI);
Student
questionnaires and
film rating sheets
Youtube Video and
Projector
Survival
International
Website
Student-led questioning session (if required). Teacher to commence: On

a scale of 1-10, how appalled are we about what is happening to the Awa
Tribe?
BACK UP ACTIVITY: Students to write down three things they would
like to say to the Brazillian Government that is permitting the logging
activities that are devastating the Awa Tribe.
Students revise questionnaires and film ratings completed at the
commencement of the unit.
Pack Down;
Teacher to collect questionnaires at door and farewell students.
Appendix Three
23
Appendix Four
24
2 Stars; 12%
5 Stars; 19%
4 Stars; 31%
3 Stars; 38%
Appendix Five
25
Question
Do you think
this film could
persuade
people to
protect the
environment
more
carefully?
Give reasons
Yes
8
Did you relate

to or like Jake?
Give reasons
Did you relate

to or like the
Navi? Give
reasons
Partly
11
10
No
5
Selection of Student Comments (some rephrased for clarity)

Yes
In the movie the environment is extremely beautiful This will make
people care about it because it shows that the environment is important.
The way the movie showed the destruction of the tree made it seem
really sad. I think we were supposed to feel that it was wrong
Its an enjoyable film that would get people who might not be
interested in the environment to watch and think about those issues. It
was colourful, bright and entertaining.
No/Partly
I dont think people can relate to this film because its too different
from our world. The Navi arent human and the environment is too
different.
Weve already ruined too much of our environment. There arent places
on Earth like Pandora
The film is about a made up place which is easier to say we would
protect than our actual world
Yes
Jake stands up for whats right.
Jake is brave. He gives up something he wanted for the greater good.
I felt like the circumstance Jake was in made it hard for him to do
something. He should have told Neytiri earlier but he was in danger
from the RDA.
Jake is a role model.
No/Partly
Jake wasnt brave. He was just like all the other humans who were
there for the money. He was ready to spy on the Navi to get his legs
back.
He was a liar.
He was deceiving.
Yes
I felt sorry for the Navi. When the tree was destroyed they lost their
home. It wasnt for a good reason.
I thought that the Navi were right. They showed the environment
respect, like when Neytiri prays after killing the dog. The humans didnt
show the environment any respect. They just took what they wanted
without caring what they did.
No
The Navi have a special connection to the environment that I think
humans dont have. We are too selfish.
The Navi are aliens and they are different from the humans. They care
about the environment much more.
Im not sure that humans can ever be like the Navi. We are too greedy
and want too many things. Humans dont like giving up things they like
especially if they have to make a massive effort.
Appendix Six
26
Appendix Seven
27
Appendix Eight
28
Appendix Nine
29
Appendix Ten
30
Appendix Eleven
31
2 Stars; 4%
5 Stars; 23%
3 Stars; 27%
4 Stars; 46%
Appendix Twelve
32
Question
Do you think this
film could
persuade people
to protect the
environment more
carefully? Give
reasons
Did you relate to

or like Jake? Give
reasons
Yes
12
Partly
9
12
No
3
Selection of Student Comments (some rephrased for clarity)

Yes
I think the movie is enjoyable because there is lots of action and the
characters are interesting. I think this will make people think about the
environment and what they are doing that is helping to destroy it.
The film shows that when the environment is destroyed its not only
plants and animals that suffer. Humans are also affected. This film might
get people who dont really care about the environment to think more
about the people they are hurting and maybe that will get them to stop
destroying the environment.
Partly/No
I still dont think that the movie will persuade people to take better care
of the environment. But I think that it will make them think about the
indigenous people that need the environment to survive.
I still think humans are selfish and this film doesnt show much about
people who pretend not to know about environmental destruction. For
example people who buy mobile phones and dont think about the
orangutans whose homes they are destroying.
Yes
I understood why Jake wanted to be part of the Navi. The Navi
understood sustainability better than the humans did and took care of the
environment and everything in it.
If I were in Jakes position I think I would find it difficult to do
anything differently. The RDA were powerful and they were threatening
him. And if he revealed to the Navi that he was a spy they might have
turned on him.
Partly/No
I still think that Jake was a liar. He chose to spy on the Navi because he
was selfish and was only thinking about getting his legs back. He learned
to understand the Navi culture but it took him a long time and while that
was happening the RDA was planning to destroy hometree.
Did you relate to

or like the Navi?
Give reasons
15
Yes
I felt sorry for the Navi when their home was destroyed. Even though
they won the battle they had lost some of their land forever. In a way the
humans won.
Even though the Navi are aliens we can see that they are quite like
humans in a lot of ways. Like certain humans (like the Awa) who are
losing their land. This made me relate to the Navi more knowing that
there are real tribes that are similar to them but are in more danger
The Navi are like a more hopeful version of the Awa. They were able
to fight back against the humans, but Im not sure the Awa can.
The Navi were strong and brave to fight back against the humans.
Partly/No
I liked the Navi but I think they made it seem like indigenous people
dont need help. In the video we saw that governments are pretending the
awa dont exist so that they can take their land. This shows they do need
our help and that we should try to learn more about the destruction of the
amazon.
33
Appendix Thirteen
34
Appendix Fourteen
35
Appendix Fifteen
36
Appendix Sixteen
37
Appendix Seventeen
38
Appendix Eighteen
39
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EDCURSEC700: Assignment Three

Charlotte Forster (4893416)

learners (Gay, 2000, p. 52); and

Are appropriately complex for students of all abilities;

Avatar was adjudicated to fulfil these requirements on the basis that:

Charlotte Forster (4893416)

complexity needs of students working at that level;

the text) that permit human and environmental colonisation;

Ticknor, 2014, p. 29);

Charlotte Forster (4893416)

(van Schalkwyk, 2015, p. 60); and

Charlotte Forster (4893416)

By readiness: accelerative and enrichment resources were provided to high-ability students

struggling students (Lessons Two, Four, Six and Seven);

operations (Bertani, 2010, p. 70; Kerr & Nelson, 2010, p. 464);

(Weiner, 2002, p. 310);

Charlotte Forster (4893416)

Charlotte Forster (4893416)

text simply were not relatable to them ; or

Charlotte Forster (4893416)

Scaffolding text-to-self connections through guided notetaking of text-to-self connections

Charlotte Forster (4893416)

Charlotte Forster (4893416)

were comfortable with it sufficient to participate (Bertani et al., 2010, p. 61);

(Shindler, 2009; Sharan, 1976, p. 22);

Charlotte Forster (4893416)

1970, p. 387; Chan, 1999, p. 30);

28; Oxford et al., 1992, p. 445);

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Establishing that attempting to answer questions is a demonstration of respect to the teacher

Farver et al., 1995, p. 1097); and

Charlotte Forster (4893416)

Duration of the Unit

Innovation, inquiry and curiosity

Respect for themselves and others

How students will be encouraged to develop the selected value

Charlotte Forster (4893416)

classmates, and the value of cooperative activity;

Key competencies highlighted in the unit

Managing self self motivation, personal goals,

How students will be encouraged to develop the

Students will engage in close analysis of various film

Charlotte Forster (4893416)

How students will learn

CLOZE and matching activities which permit students

Charlotte Forster (4893416)

Diagnostic: What do they know?

CLOZE camera angles test;

Summative? What have they

Sequence of Learning and Content

Charlotte Forster (4893416)

** Complete table for both.

Do Now: Completion of Themes Graphic Organiser;

Charlotte Forster (4893416)

Extension and Support

Further support provided for the following students:

All activities marked with a ** required the completion

Charlotte Forster (4893416)

Charlotte Forster (4893416)

Laptop, DVD and Whiteboard Projector;

Health and Safety: No issues.