LESSON PLAN: Nilufer Zafreena Hakim 17547840 Page 1

PART A: PREPARATION AND STRATEGIES

Year: Syllabus section: Stage 5 (Year 9) ENGLISH

Lesson 4/10

Unit Name: Creative Writing in Indigenous Contexts (Group work)

Aboriginal site: Minerva Pool Walking Track (Dharawal National Park)

Lesson Topic: Duration: 60 minutes

Storyboard/mapping for creative piece

Prior knowledge/skills Resources (Attach classroom ready resources/worksheets students will

required
(For teacher) – general
understanding of selected
sections of Nancie Atwell’s
work on improving writing
from In the Middle (1987).
Student understand of the
Aboriginal concept; Dadirri
be using, including relevant pages from textbooks)
- Selected video for Daddirri activity (of Minerva Pools walking
track) A minimum of 5 pictures of the area per group
https://drive.google.com/open?id=1UFIKVNZqp9qHX5-
aaBeu0GjLCr1YHlNm
- Worksheet for Dadirri logs (Individual)
- Group A3 sheet for detail structure and story event mapping

Quality Teaching Elements (lesson focus) - Highlight relevant items

1. Intellectual Quality 2. Quality Learning Environment 3. Significance
1.1 Deep knowledge 2.1 Explicit quality criteria 3.1 Background knowledge
1.2 Deep understanding 2.2 Engagement 3.2 Cultural knowledge
1.3 Problematic knowledge 2.3 High Expectations 3.3 Knowledge integration
1.4 Higher-order thinking 2.4 Social Support 3.4 Inclusivity
1.5 Metalanguage 2.5 Students’self-regulation 3.5 Connectedness
1.6 Substantive communication 2.6 Student direction 3.6 Narrative
How are Quality Teaching (QT) elements achieved in the lesson?

QT element/s in the lesson Indicators of presence in lesson

Student self-regulation
Knowledge Integration
Self-regulation is expected of students before and after their
conference sessions when students are to discuss and evaluate
their individual notes as a group and select a few that will be
included in their story map.
Knowledge integration is evident in this lesson through two
components of Aboriginal pedagogies; the learning and
implementation of Dadirri (deep listening) and the continuation of
this concept during the conferences when guidance and support
LESSON PLAN: Nilufer Zafreena Hakim 17547840 Page 2
from Indigenous elders need to be considered.
Narrative The basis of this lesson is to construct a short story, the focus of this
activity however is to scaffold student creativity toward
constructing a narrative based off deep listening, the creative
writing source tools and strategies, advice and knowledge gained
through Indigenous elders and their prior Geography lessons.
Students must link these ideas and concepts when building their
narrative in their story map.

PART B: SEQUENCE OF ACTIVIES IN LESSON

Syllabus outcomes: (number/s and descriptor)

EN5-5C: A student thinks imaginatively, creatively, interpretively and critically about information and
increasingly complex ideas and arguments to respond to and compose texts in a range of contexts
Content –
Engage personally with texts;
create literary texts that reflect an emerging sense of personal style and evaluate the effectiveness of
these texts (ACELT1814)

Respond to and compose texts;

understand and explain the ways in which composers transform ideas and experience into and within
texts, including consideration of their insight, imaginative powers and ingenuity

EN5-7D: A student understands and evaluates the diverse ways texts can represent personal and public
worlds
Content –
Understand and apply knowledge of language forms and features;
analyse the ways in which creative and imaginative texts can explore human experience, universal
themes and social contexts

Respond to and compose texts;

respond to and compose sustained imaginative, creative and critical texts that represent aspects of their
expanding personal and public worlds, for a wide range of purposes, including for enjoyment and
pleasure

EN5-9E: A student purposefully reflects on, assesses and adapts their individual and collaborative skills
with increasing independence and effectiveness
Content –
Respond to and compose texts;
examine the ways that the processes of planning, including investigating, interviewing, selecting, and
recording and organising ideas, images and information, can and should be modified according to specific
purposes, texts and learning contexts

use and assess individual and group processes to investigate, clarify, critically evaluate and present ideas
LESSON PLAN: Nilufer Zafreena Hakim 17547840 Page 3
Students learn to: Students learn about:
Utilise creative writing strategies effectively in their imaginative and About writing techniques and
interpretative processes, they can configure their own writing tone strategies (5 senses for source of
and style as a group of writers. inspiration and conferences as
part of editing)
Students learn to appreciate and respect the values of Indigenous
communities and part of their cultures and histories through Students also learn about being
learning how to include their perspectives within their story. considerate of Aboriginal customs
and perspectives in their creative
Students learn to act independently and responsibly via individual writing.
tasks for a collaborative outcome.
Students learn about the
responsibility, initiatives and
patience and compromise
required in group work.
Timing Lesson content Student activity 8 ways link

5 Mins Ensure clear dot pointed instructions and Teacher to dissect groups
expectations of lesson are displayed on board of 4-5 by assigning
for students prior to them entering classroom students numbers as they
(1.1) and that ipads and a3 sheets are on each walk in to avoid lagging,
table. direct their attention to
displayed PowerPoint
Brief over outline of lesson (1.1) slide (1.1).
Mini lesson on Dadirri (Deep listening) (1.2), Introduce AEO’s and
play video community members
https://www.youtube.com/watch?v=pkY1dGk- who are knowledgeable
LyE about the Minerva Pool
Walking Track here for
Revisit outline on board (1.1) for Dadirri logs class today and begin
and 5 senses logs, student teacher/ teacher mini lesson (1.2). Include
aide and AEO conferences in between, story portion of the video
mapping in groups. (starting at 1.20) and take
questions in open
discussion after viewing
to assure class
understanding.
Explain its relation as
conceptual basis of
today’s lesson on creative
writing by referring to
outline on power point,
for the Minervra Pool
track.
LESSON PLAN: Nilufer Zafreena Hakim 17547840 Page 4

7 mins Display 1.3 for visual reference on how to Students to begin at the
proceed with the activities for the log sheet, top of their allocated log
direct student attention to first two dot points. sheets in ‘hearing’ section
Student groups to play allocated video on their and practice deep
ipads at least twice in segregated areas to listening whilst playing
focus on being able to practise Dadirri their videos of the site on \
ipads. Students to then
take notes of what they
heard and think they
could hear in as much
detail as possible.
5 mins
Students to speak to teacher aides and AEO’s Students to then engage
and Elders to discuss their ideas to obtain in group wide discussion
further knowledge and support in their of their notes and wait for
creative writing direction. a teacher, AEO or
Indigenous community
Keep 1.3 displayed. member to come around
to table for review. Each
group should be
encouraged to ask
questions about anything
they don’t know
especially for any
historical or cultural
information and context,
these should be added
onto their notes for the
hearing section in their
logs.
5 Mins
Students to list down details of the setting Students to then engage
section of their story map to establish their in evaluation process with
angle of approach for world building. group members on which
notes from each other,
they will select for their
setting/world building on
their story map on a3
sheet.

10 Direct student attention to third dot point on Students to then fill in

Mins 1.3 for 5 senses activity (connect to concept of remainder of the ‘senses’
Deep Listening) and instruct them to utilise boxes by viewing their
either the videos (again) and/or 5 pictures allocated images as well
allocated to each group. as the videos again for
notes. Students should
refer to third dot point on
LESSON PLAN: Nilufer Zafreena Hakim 17547840 Page 5
power point (1.3) on why
detail for each ‘sense’
should be creatively
informed.
5 Mins
Students to have another rotating conference Students to have another
about their entries using the 5 senses activity conference for further
alongside the Deep Listening one, and how it guidance on their
will be integrated into their creative piece. emerging creative
narrative around the
Minerva Pool walking
track; i.e. if one group
finds they are interested
in their ideas based on
‘taste’ their creative piece
could be focused on bush
food which they could
learn more about through
interaction with
Indigenous members of
the community during
these sessions.
5 mins
Display example story map on board for Students to repeat
reference on how students may construct evaluation process and
their story maps, however they do not need to refer to example story
restrict themselves to this template. map on board and begin
Students to list down details for remaining noting down finalised
sections on a3 sheet. ideas for each ‘sense’ for
their setting/ world for
their creative piece.
Teachers, AEO’s and
members of community
can walk around
classroom and offer
insight and support in this
process.
10
mins Students to begin fine turning their story Students to discuss and
planning by thinking about the events, plot, begin noting down (on a3
characters, narrative voice and form. Direct sheet) their creative
attention to latter half of example story map direction for their story;
on display for reference. narrative voice, form, the
Remind students that by the end of this characters involved etc.
section they need to have something written
in their sequence plot squares and a general Teachers, AEO’s and
completed draft. members of community
to encourage groups to
complete entire mapping
process (draft) in this
section, they should
LESSON PLAN: Nilufer Zafreena Hakim 17547840 Page 6
advise students but
mostly push them to
write out all their ideas as
editing will be done in the
last conference.

5 Mins
Last conference round to review if student In this last conference,
ideas for the above aspects of their creative teachers AEO’s and
piece need to be corrected or changed Indigenous members of
(emphasis here should be on advising students community in class are to
to understand the difference between help finalise editing of
speaking over and for Indigenous voices as group story maps by
opposed to being inclusive of their stories in making suggestions, here
their creative pieces). students are to be
advised of the
importance of not
speaking over and for
Indigenous communities,
rather to be inclusive of
them and that this may
be controlled through
their narrative voice,
characters and sequence
of events. Students to
add these edits into their
maps.
3 Mins
Ask for quiet and pen’s down, tie up lesson by Teacher to pick
asking at least 2 groups to share their story volunteers or any groups
map ideas and plans. to share their story
outline by asking them to
hold up their a3 posters
and give a brief overview
(under a minute) of their
story maps and anything
they learnt.
LESSON PLAN: Nilufer Zafreena Hakim 17547840 Page 7
PART C: ANALYSIS AND SELF-REFLECTION
How have outcomes been achieved?
Learning outcome Method of measuring and recording
EN5-5C: A student thinks Student log sheets where their notes on what their 5 senses (starting
imaginatively, creatively, with the concept of deep listening for ‘hearing’) are to be taken.
interpretively and critically about They must then use their imagination and be creative in world
information and increasingly building for their story map on their a3 sheets.
complex ideas and arguments to
respond to and compose texts in a Student log sheets and the allocated sections of the example A3 map
range of contexts for their final group plans for their story maps, after each conference
where students need to consider the advice and knowledge from
EN5-7D A student understands and AEO’s and Indigenous members on their initial notes and ideas.
evaluates the diverse ways texts
can represent personal and public The A3 sheet where finalised student plans for their story map
worlds indicating a structured layout of the plot, requires reflection and
assessment individually and collaboratively on their log notes so
EN5-9E: A student purposefully certain parts of each ‘sense’ and story map feature (plot, narrative
reflects on, assesses and adapts voice etc) can be evaluated and agreed upon before listing.
their individual and collaborative
skills with increasing independence
and effectiveness

Links to next lesson: This lesson is a scaffold to the main activity for lesson 5, where students are to
immediately begin their drafting of their story, abiding by their story map. Students will be expected to
have completed their entire collaborative written piece by the end of that lesson.

AISTL graduate standards and evidence that this lesson achieves this standard.
AITSL Standard Evidence within this lesson
2.4 Understand and respect Evident within lesson in the mini lesson on deep listening and the
Aboriginal and Torres Strait structural basis of constructing the story map on this concept, also
Islander people to promote within the conferences where students should consider the voices
reconciliation between Indigenous and advice of Indigenous elders in their guidance on their story
and non-Indigenous Australians mapping.

4.1. Support student

participations Evident within group activity format of the lesson and task.

7.4 Engage with professional Evident within conferences with AEO’s and Indigenous community
teaching networks and broader members as well as connecting student learning from prior
communities Geography lesson to this activity.

WHS considerations
General classroom conduct;
- Students to remain seated, bags tucked in under tables, no scissors or sharp objects out as they are
not required, keep water bottles away from ipads.
- Teachers, AEO’s and community members walking around the room to be mindful of one another
in small spaces.
- Wires to be tucked away to avoid tripping, floor to be empty of debris, classroom area to be neat
LESSON PLAN: Nilufer Zafreena Hakim 17547840 Page 8
and tidy.
References:
Australian Institute for Teaching and School Leadership Limited. (2011). Australian professional standards
for teachers, February 2011. Retrieved from: https://www.aitsl.edu.au/docs/default-
source/general/australian-professional-standands-for-teachers-20171006.pdf?sfvrsn=399ae83c_12

Atwell, N. (1987). ‘Getting Started’. In In the Middle, 1st ed, (p. 171-181). USA: Heinemann.

Atwell, N. (1987). ‘Responding to Writers and Writing’. In the Middle, 1st ed, (p. 182-215).
USA: Heinemann.
Atwell, N. (1987). ‘Writing Mini-Lessons’. In the Middle, 1st ed, (p. 216-241). USA: Heinemann.

NSW Education Standards Authority. (2012). NSW Syllabus for the Australian curriculum; English K-10
Syllabus. Retrieved from:
http://syllabus.nesa.nsw.edu.au/assets/englishk10/downloads/englishk10_full.pdf

Professional Learning and Leadership Development Directorate. (2008). Quality teaching to support the
NSW Professional Teaching Standards. Retrieved from:
http://www.kincumberp.schools.nsw.edu.au/documents/10079662/10085935/quality_teaching_fr
amework.pdf

Ungunmerr, M.R. (1988). Dadirri, inner deep listening and quiet still awareness. A reflection by Miriam-
Rose Ungunmerr. Miriam Rose Foundation. Available at;
http://www.miriamrosefoundation.org.au/about-dadirri

Casual teacher Notes:

To make sure their computer and all digital equipment is working beforehand, that the lesson outline is on
display, ipads out on group tables with allocated pictures well before students enter the classroom and to
ensure they have spare pens, markers, copies of sheets and A3 sheets. Also, to have the drive link on hand
in case any of resources on ipads are not working/loading.

Additionally, to re check with faculty to see if invited community elders and AEO’s are still available to
attend the day’s lesson in the morning before school begins.

Community Consultation or Protocols to be considered.

To be respectful and appreciative of invited members of community for participation in this lesson, contact
with local Indigenous community should be made well before lesson to establish a comfortable
relationship and inform them of the intents and purposes of the lesson within the outline. Any advice or
requests on behalf of Indigenous members on the structure of the lesson should be considered.
LESSON PLAN: Nilufer Zafreena Hakim 17547840 Page 9
POWERPOINTS TO DISPLAY THROUGHOUT LESSON

1.1

1.2
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1.3

Link to drive with allocated pictures and video per group;

https://drive.google.com/open?id=1UFIKVNZqp9qHX5-aaBeu0GjLCr1YHlNm

NOTE: 5 groups with 5 pictures each and 1 video inside each folder under the assumption of a classroom
of 30 students.
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Creative Writing in Indigenous Contexts
Minerva Pool Walking Track Student Log Sheet

Hearing (Listening) Sight

Touch Smell Taste

LESSON PLAN: Nilufer Zafreena Hakim 17547840 Page 12
EXAMPLE STORY MAP

Characters can hear:
WHAT IS THE MOST
PROMINENT SOUND?
THROUGH DEEP LISETING,
WHAT IS IN THE BACKGROUND?
WHAT ATMOSPHERE DOES IT
CREATE
This can be seen;
CONSIDER; WHAT IS
HIDDEN? WHAT ROLE
DOES THE VISUAL
SETTING PLAY IN THE
PLOT
These things can be felt;
HOW IMPORTANT IS TOUCH
AND FEEL IN THIS STORY?
LOOK BACK TO YOUR
GEOGRAPHY LESSON, WHAT
PLANTS ARE IN YOUR STORY?

WORLDBUILDING

I can smell: I can taste or eat;

LIKE HEARING, WHAT IS MOST WHAT IS AVAILABLE TO EAT
PROMINENT? OR IS THERE A ‘TASTE’ OF
SOMETHING IN THE AIR?

This story will have the character/s: HOW MANY PEOPLE ARE IN THIS STORY? WHAT IS THE FEELING AND
UNDERSTANDING BETWEEN THEM? CAN THEY RELY ON ONE ANOTHER OR IS THERE TENSION?

It will be about (brief):

It will be told in the narrative voice: HOW MANY PERSPECTIVES ARE THERE IN THIS STORY? IS YOUR
NARRATOR OMNIPRESENT?

The genre and form of the story will be: WILL IT BE A HORROR STORY OR A MURDER MYSTER WITH A
ROMANCE? A SERIES OF JOURNAL ENTRIES, A POEM OR A STANDARD SHORT STORY?

Plot outline/sequence of events: WILL IT BE TOLD IN A LINEAR OR NON LINEAR MANNER?