Access the Curriculum

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    • 00:08

      [Special Schools][Access the Curriculum]

    • 00:17

      KEITH PARK: Thou art a villain.

    • 00:19

      CLASS: Thou art a villain.

    • 00:21

      NARRATOR: In this program, we seetwo examples of special school pupilsaccessing the curriculum.The Romeo and Juliet Project at Little Stanmore Primary Schoolencourages participation through signing.At Woodlands Special School, pupils explore a sense of timewith toys from the past in a history lesson.

    • 00:42

      NARRATOR [continued]: These two northwest London schoolswill soon be co-locating.And we've invited key professionals involved in thatprocess to talk about how they've planned the deliveryand evaluation of lessons. [Jill Palmer, Deputy Headteacher,Woodlands Special School] They focus on how communicationdevelopment is crucial to differentiating the curriculum.[John Feltham, Headteacher, Woodlands Special School][Stacey Lawrence, Senior Speech and Language Therapist] Thediscussion is led by Nick Peacey,

    • 01:03

      NARRATOR [continued]: who is a specialist in inclusion and curriculum developmentstrategies for pupils with special educational needs.[Nick Peacey, Co ordinator Special Educational Needs JointInitiative for Training (SENJIT)]

    • 01:09

      JOHN FELTHAM: --our curriculum.We heard of the work of SENJIT and the Institute of Education,and yourself, Nick.And it was having those discussions with youin school that were the kind of sparks of creativity,if you like, that helped us move our thinking on.Rowan Class is our early years class.It has pupils in there who are aged in fact under three,up to six years plus.

    • 01:32

      JOHN FELTHAM [continued]: They're a group of pupils with fairly high dependency needs,who have a severe learning difficulty,but also may be described as having a more profoundand multiple learning difficulties in some areasof their functioning.Some people have additional sensory disabilities,physical disabilities, and potentially medical needsas well.[Rowan Class]

    • 01:54

      JILL PALMER: We're looking at the national curriculum,and we're pulling out what will make sense for our students.What kind of learning intentions,what kind of activities, would be meaningful.How are we going to assess it?Adapting it to our specific population of studentsthat we have here, so that studentsare getting what they need.Getting exposed to a wide variety of subjects,

    • 02:14

      JILL PALMER [continued]: but balanced with that, the individual needsand individual targets are going on all throughout the dayacross all subjects.

    • 02:22

      VICKY BROWN: My description of the class,three- to six-year-olds who might need a little bit morehelp in their learning. [Vicky Brown, Rowan Class Teacher,Foundation Stage and Numeracy Co ordinator]But as all children do, individualized stuffhelps get them there.

    • 02:35

      JILL PALMER: We introduce the history lessonby having the room darkened, so that we can focus on the clock,with the torch shining on the clock.And the song in the background playing,which is called "The Rhythm of the Clock."And that's just our way of cuing that this is now the historylesson.[MUSIC PLAYING][Music courtesy of "Education Through Music"]

    • 03:01

      JILL PALMER [continued]: We always share the lesson planningwith the teaching assistants.They have a thorough knowledge of the students,so they are aware of what the learning intentions are,what resources are going to be needed,what strategies are going to be used.OK, well done, everybody.I saw some really good--

    • 03:20

      NICK PEACEY: Do you think it's a valid approachto use subjects like this as contextfor a whole lot of communication learning,and that sort of thing?Are you happy with that model?

    • 03:29

      JILL PALMER: Yes, I am.I think it's challenging for teachers,but I think that number one, that our students areentitled to be exposed to national curriculum subjects.I mean, we're saying they're necessary for studentsin mainstream schools, so why wouldn't theybe appropriate for our students as well?And I think it gives teachers the challenge

    • 03:50

      JILL PALMER [continued]: of working on those basic skills of communication, for instance,in a lot of different ways.

    • 03:56

      STACEY LAWRENCE: To signal the start of that lesson,lights were dimmed, the environment in its whole lookcompletely changed, there was music playingconsistent to music that happens at the start of a lesson.There was clocks shown to signal that.There was lights, very much for the individual child,in their face, so they are having

    • 04:18

      STACEY LAWRENCE [continued]: that sort of understanding.And very little language was used,as opposed to say in a mainstream classroom,where the teacher would say, OK, great.We're going to start with history,and then when-- it's toys from the past.

    • 04:30

      JILL PALMER: And in history, wherewe're thinking about things a long, long time ago.At the beginning of every history session,we've been reminding ourselves we're doing toys.You know what I have in here?And for that we use the tap tap box,where each student has the opportunity to choose a toy outof the tap tap box.And we will be remarking that toy is shiny,

    • 04:51

      JILL PALMER [continued]: or that toy is soft, describing characteristicsof different toys.And what's in the box?And Sahand is going to make a choice.What have you got?Can we show everybody?Sahand's got a toy, and it's a toy that-- look what it does.We've got a jiggly toy.So we know that some toys are a bit jiggly and tickly.

    • 05:14

      JILL PALMER [continued]: And that toy feels a bit soft.Siv and Finn, not only were they looking,but they were reaching out.And we saw Finn really reacting.And one shake of the tap tap box,and you could see him just light up and physically react.And he knew what was coming.He was able to anticipate what was coming next.Finn's chosen a little baby doll.

    • 05:34

      JILL PALMER [continued]: Tap tap tap.What's in the box?Rukshar didn't need very much encouragement.She was constantly looking, and she was engaging verbally,reaching.You choose, that's right.Primarily, in the class, my aims will

    • 05:56

      JILL PALMER [continued]: be what each individual student may need.Looking perhaps, or listening, or visualtracking, or responding, communicating,all of those basic targets.But it's wrapped up in a history lesson.And if the students are able to pick upon concepts around history, that's a great bonus.

    • 06:18

      JILL PALMER [continued]: Good choice, Rukshar, I like that toy.All right, who else is ready for a turn?Sorry, Patrick.

    • 06:24

      VICKY BROWN: Because some of the children have medical needs,you have to judge their involvement in a lessonon how well they're feeling.So Patrick and Arjun's reaction today isn't typical of them,but it's just demonstrating that they're not quite there.Today's learning outcome for themwas they were encountering history.

    • 06:45

      JILL PALMER: Patrick has chosen a toy that's shiny and sparkly.

    • 06:50

      JOHN FELTHAM: Working with Stacey,as a speech and language therapist in the school,around educational aspects, if you like,and curriculum development, bringsa completely other dimension to the work that we're doing.

    • 07:00

      STACEY LAWRENCE: Paddy was given the box.He took out a string of beads.And he just did this with the beads.And Jill as the teacher and Siobhan as teaching assistantdidn't expect anything more for that.Because that fitted in to the communication leveland the learning intentions for that child,which was to encounter an experience.

    • 07:23

      STACEY LAWRENCE [continued]: Whereas for Sahand, in the same activity, in the same lesson,was-- if you like, more was expected from him.So Jill maybe was expecting that hewould make a choice consistently,that he would express preference.

    • 07:36

      NICK PEACEY: Did you-- in the planning process,did you deliberately look at communication issuesas a sort of unifying force within the curriculum,within the learning of the students?

    • 07:48

      JOHN FELTHAM: We determined, I think, from our experience,very, very quickly that communicationwas going to be a core part of children's learning.It's one of our-- one of the aims of our school,is enhancing children's communication development.So we knew it had to be there, although we weren'texactly very defined in our thinking at the beginningas to how.And Stacey and I, and Jill, and people in school

    • 08:08

      JOHN FELTHAM [continued]: started to have conversations about communicationin the curriculum.And Stacey has come up with a kind of-- framework, Stacey?

    • 08:18

      STACEY LAWRENCE: Yeah, it's just looking at communicationin terms of its development from the very earliest stages,all the way through.And trying to have that almost as an overlayto the curriculum, so that every childwould be potentially placed on a scale.And then depending on where they are on that scale,the way that you teach them, or the way

    • 08:39

      STACEY LAWRENCE [continued]: that you differentiate the curriculum,or the way that they access the curriculum,is therefore correlating and relating.And in terms of evaluation, when we set learning intentionsfor the students, we can tie-in, hopefully,the communication development.

    • 08:56

      JOHN FELTHAM: What you're describing,the debate in school amongst the teachersand the teaching assistants too, is how-- to what degreeyou differentiate the learning intentions.So when you evaluate the lesson on our planning format,do you evaluate for individuals, what learning took placefor them?I'm maybe shifting my mind toward small, highly

    • 09:16

      JOHN FELTHAM [continued]: differentiated learning intentions now.

    • 09:18

      JILL PALMER: Do you remember that we were talkingabout old toys and new toys?When it comes time for me to record, on my lesson plan,I'll make notes that will refer to my learning intentions.So my first learning intention may have been, for example,for students to handle a variety of old and new toys.

    • 09:40

      JILL PALMER [continued]: And do you remember we looked at an old toy?And an old toy might be broken or dirty.When we were looking at old toys and new toys, and that'swhen I brought out the new toy in the package.And then the old toy went into the bin.And Rukshar was very enthusiastic about puttingthe old toy into the bin.Can you do it for us?

    • 10:01

      JILL PALMER [continued]: Thank you, Rukshar.Next, we introduced today's lesson,which was looking at a toy that was popular a long time ago,the spinning tops.And we had the opportunity to lookat a variety of different kinds of spinning tops.Can Finn have a go?One more!

    • 10:21

      VICKY BROWN: In Rowan Class, it'sa lot about process, not so much product.

    • 10:24

      JILL PALMER: Look at that!

    • 10:25

      VICKY BROWN: So we take a lot of photos during lessons--

    • 10:27

      JILL PALMER: You're really trying.

    • 10:28

      VICKY BROWN: So that we have some evidenceof learning because we may not have the physical things.

    • 10:32

      JILL PALMER: Can Chloe have a go now?

    • 10:34

      VICKY BROWN: We look at the photos.We evaluate those.So that's part of our recordkeeping,so we can see over time that, to start with,they weren't looking, or they weren't touchingand then later on, they were touching and looking.

    • 10:45

      JILL PALMER: Well, what happens if you touch it?There it goes!Right on the floor!

    • 10:52

      VICKY BROWN: Also with the Foundation Stage students,occasionally we will do a time sample,or we'll do a running record.For five minutes or so, you'll write down everythingthat they're doing.And then you evaluate against the Foundation Stage documentsor the lesson plan, depending on which case stage they're in.

    • 11:09

      NICK PEACEY: So evaluation, as far as you're concerned,is very much a collaborative process.With you working with the teaching assistantsto decide what progress individualshave made against the learning intention.

    • 11:18

      JILL PALMER: Absolutely.The knowledge that the teaching assistantshave of each of the students is invaluable.

    • 11:23

      NICK PEACEY: What's the role of photographs in evaluatinga lesson like that?If there is one, indeed.

    • 11:28

      JILL PALMER: Well, that's a way of collecting evidence of whatthe students are achieving.In a lesson like that, you could seethat the students aren't necessarilycreating a product on a piece of paper or creating a project.And what I need to be capturing, which I can onlydo through video and photo, is that look,or that reach, or that blink, or that smile.

    • 11:51

      JILL PALMER [continued]: The reactions of that nature.

    • 11:52

      NICK PEACEY: Were you happy with that lesson?And if so, why were you happy with that lesson?

    • 11:56

      JILL PALMER: Yes, I was happy with the lesson.And, just briefly, because of the responsesfrom the children.Afterwards, I will sit down with the teaching assistantsand we'll talk together about whateach student did in the lesson.And I'll look at that against the learning intentions,make notes there, and then that will informwhat I do in the next lesson.

    • 12:18

      JILL PALMER [continued]: We invited our visitors in to show us their favorite toythat they may have played with a long time ago.Now, who's this that you've got?Is it Elmo?Oh, be gentle with Elmo.Elmo's got big, big eyes like Rukshar.Can we show Finn now, Rukshar?I think my approach with each student

    • 12:38

      JILL PALMER [continued]: would be slightly different.I might be able, with Rukshar, to usea bit more verbal language.Where with someone else, I might needto emphasize my signing, or my facial expression,or my volume a bit more.Are you looking, Chloe?You're picking your head up now.And then we showed them we were looking at spinning tops.Next week, we're going to--

    • 12:59

      JILL PALMER [continued]: And we talked about what we'd be doing next week.And that's making our own spinning tops.And we looked at some that were made by another class.Listen to our finish song.And then we signaled that the lessonwas finished by doing the sign "finish," by tidying up.You can try it, too.Finish.And by getting very still and quiet listening to the

    • 13:19

      JILL PALMER [continued]: How Quiet Can You Be song.Lots of good looking and listening.Thank you to Sahand, who's been looking as well.And thank you to Siv.Thank you to Finn, looking very relaxed.

    • 13:34

      NICK PEACEY: If you're not used to watching youngsterswith profound and multiple learning difficulties,you might be asking yourself the question, whatexactly were those youngsters learning during that lesson?

    • 13:43

      JILL PALMER: My main focus in thatlesson would've been students workingon their individual targets, whichmay be attending to something, or listening,visual skills, anticipation.Things of that nature.But those were within a history lesson.

    • 14:00

      NICK PEACEY: In the process of planning that lesson on toys,you actually visualized the fact that youwere going to be moving with the schoolonto the same site as the mainstream school.And it was a way of bringing the two schools togetherto have lessons which were around the same sort of area.

    • 14:13

      JOHN FELTHAM: When we were planning,we spoke with the deputy head.And we asked her about her curriculum map.And on her curriculum map was toys from the past.And so we decided that we should, as a first sample,take that unit of work and see howwe can develop it for our school and access our pupils to it.So that when we moved to Little Stanmore, we can say,

    • 14:34

      JOHN FELTHAM [continued]: we do the same, actually.So we have an opportunity here for children to share learning.

    • 14:39

      MAL VALLER-FELTHAM: Woodlands were moving here, on site,so we're going to be sharing the site.[Mal Valler Feltham, Class Teacher, Little Stanmore]So it was trying to think of creative waysthat we could have inclusion and an opportunityto work together for the two schools that weren't alwaysseen as academic.

    • 14:58

      JOHN FELTHAM: Working with colleagues from a mainstreamschool, who bring all that they understand and knowand can do to our work, just adds a completely otherdimension.And it just affects your thinking, really.And it's good.

    • 15:09

      NARRATOR: Toys from the past offered Little Stanmoreand Woodlands Special School the opportunityto plan their history curricula together.And it was an unusual request from a pupilat Little Stanmore which led to the Shakespeare Project.

    • 15:23

      SPEAKER 1: I wrote a letter asking if wecould do Romeo and Juliet.

    • 15:27

      MAL VALLER-FELTHAM: The workshop startedthrough one of the children in my class writing a letter,asking us to do extracurricular drama workshops after studyingRomeo and Juliet in Literacy.And I shared this with John at Woodlands,and we thought of how we could do it together.

    • 15:45

      JOHN FELTHAM: It was a fairly impassioned letterabout wanting to do more Shakespeare.And then I started to think about using thisas a kind of catalyst, if you like,for doing some work with the staff and the childrenat Little Stanmore. [John Feltham, Headteacher,Woodlands Special School] I'd heardof Keith Park and his work.I made contact with Keith, and it took a life of its ownfrom there, really.What do you think about the outline of the project?

    • 16:06

      KEITH PARK: I was asked to includea small group of children with very, very complex needsinto a large group activity. [Keith Park, Advisory Teacher,Sense] I hit upon the idea of using a textand just breaking it down and using it in call and response.One of the basic concepts around which these workshops are doneis the circle.

    • 16:27

      KEITH PARK [continued]: It's very comforting and reassuringfor workshop participants because, to begin with,no one has to stand out.There's the comfort in anonymity.And as confidence gradually increases,people can be invited to go into the middleand play a part in directing an episode, if they wish to do so.

    • 16:47

      KEITH PARK [continued]: And we can try and sign as well, OK.Talk of peace?

    • 16:50

      CLASS: Talk of peace?

    • 16:52

      KEITH PARK: I hate the word.

    • 16:53

      CLASS: I hate the word.

    • 16:54

      KEITH PARK: As I hate hell.What I found is that more and more peoplewant to go in to the middle and direct, as it were.[CALL AND RESPONSE]Because the workshop itself is episodic,it's very easily learnable.

    • 17:15

      KEITH PARK [continued]: Peers can help each other learn.I think enjoyment of stories, poetry, and dramais something that is irrespective of disabilityand can be enjoyed by anyone.

    • 17:30

      NICK PEACEY: Is enjoyment enough in a lesson?Is it enough reason for having a lesson?

    • 17:35

      JOHN FELTHAM: Obviously children are notgoing to learn unless they do enjoy what they're doing.And it obviously enhances and supports the learning process.But one of our underlying principlesin developing what we did was this whole notionof allowing the particular populationthat we work with access to those experiences as a right,in terms of the balance of their curriculum.

    • 17:56

      JOHN FELTHAM [continued]: But also looking at the whole issueas a continuum of learning.

    • 18:00

      KEITH PARK: Oh, yeah!My only love.

    • 18:03

      CLASS: My only love!

    • 18:05

      KEITH PARK: Sprung from my only hate.

    • 18:07

      CLASS: Sprung from my only hate!

    • 18:09

      KEITH PARK: The rhythm acts as a frameworkfor communication skills.That I must love.

    • 18:15

      CLASS: That I must love!

    • 18:18

      KEITH PARK: It was found to be very successful.And we've just extended it and developed it ever since then.It's simply a matter of people feeling confident enoughto go with it.Excellent.Do you think this might be a good timeto introduce the resonance board?

    • 18:33

      CLASS: Yeah!

    • 18:34

      SPEAKER 1: There's also somethingcalled a resonance board, which is also a way of communicating.They lie down on the board.And when you bang it, they will be able to feel the vibrations.

    • 18:46

      KEITH PARK: A resonance board was originallydeveloped for encouraging blind babieswith multiple disabilities to move.Because when the body moves on the board,the movement produces a resonance.

    • 18:58

      JOHN FELTHAM: You want Sahand to come on?OK.Rukshar is asking if Sahand can come on.

    • 19:03

      KEITH PARK: For a group such as this afternoon'sto have a resonance board in the middleenables the children with very complex learning needsto have some kind of vibrotactile stimulus.

    • 19:17

      SPEAKER 2: Louder.

    • 19:18

      JOHN FELTHAM: A little bit louder, Kingsley said.

    • 19:25

      KEITH PARK: But it also provides an important communication aimbecause it acts as a joint visual attention.It focuses everyone's attention into the middle.So the resonance board performs a communicative function, too.Part four.Tybalt and Mercutio have a fight.

    • 19:45

      KEITH PARK [continued]: Thou art a villain!

    • 19:47

      CLASS: Thou art a villain!

    • 19:48

      KEITH PARK: Villain am I none!

    • 19:50

      CLASS: Villain am I none!

    • 19:51

      KEITH PARK: It's difficult for meto be a recorder of people's progressbecause I'm trying to keep the whole thing going.But one of the children, at one point,went into the middle of the circleand stood on the resonance board.And his whole body posture spoke as if he was saying,this is me, look at me.

    • 20:12

      KEITH PARK [continued]: Now this, in technical terms, is calledDeclaring of Self, which is a very early, basic communicationskill, which is extremely hard to teach in a formal situation.But in storytelling and drama and poetry,it's a situation that arises naturally.Give it some welly, folks.O Elohim.

    • 20:34

      CLASS: O Elohim.

    • 20:35

      KEITH PARK: Me thinks I see thee.

    • 20:37

      CLASS: Me thinks I see thee.

    • 20:38

      SPEAKER 1: To communicate, we mostly usesign language, or the Big Mac.The Big Mac is a machine that records speech.It's called a Big Mac because it looks a bit like a burger.It was designed like that so the children could smack the topand it wouldn't be difficult--

    • 20:53

      KEITH PARK: A voice output communication aidis a communication device that contains oneor more pre-recorded messages.Participants who are switch usershave the opportunity to initiate, maintain, and closecommunication exchanges.Now, for a child with severe learning disabilities,

    • 21:14

      KEITH PARK [continued]: these early communication skills are extremely important.But also ones that are extremely difficult to teach in a moreso-called formal session because they don't relateto asking and answering questions.

    • 21:28

      NICK PEACEY: It seemed to me there were alsoelements, very much, of social inclusion going on there.And I wondered how you think that the sort of workhe was doing is about the behavior of youngsters,and how they perceive themselves, and self-esteem,and so on and so forth.

    • 21:43

      JOHN FELTHAM: It started off in an academic way,if you like, for a reason.Because I felt that if I approached a mainstreamschool with an academically based project, i.e.Romeo and Juliet and Shakespeare,that again, we would have a commonality of languageand they would have a view of what it was wewere going to do.It also relates very much to their curriculum

    • 22:04

      JOHN FELTHAM [continued]: and their experiences, as well.What happened is, as the session developed, though,was the relationships that came, if you like,as a consequence of that academic learning framework,became very powerful.And those relationships affected everybody's behavior.Everybody's behavior in the room changed.

    • 22:25

      KEITH PARK: How, how, chop-logic.

    • 22:27

      CLASS: How, how, chop-logic.

    • 22:29

      KEITH PARK: "Proud," and "I thank you."

    • 22:31

      CLASS: "Proud," and "I thank you."

    • 22:33

      KEITH PARK: Proud me no prouds.

    • 22:34

      CLASS: Proud me no prouds!

    • 22:36

      KEITH PARK: The reason I have doneworkshops on Romeo and Juliet is because Ifeel that they have an intrinsic value of themselves.Speak not, reply not.

    • 22:45

      CLASS: Speak not, reply not.

    • 22:46

      KEITH PARK: But what teachers can do,from mainstream schools and special schools,is use the Romeo and Juliet workshopto fulfill their various objectives in English and dramaand PSHE.So it is a very rich area for fulfilling national curriculumobjectives.

    • 23:07

      KEITH PARK [continued]: Montague.

    • 23:08

      CLASS: Montague!

    • 23:09

      KEITH PARK: Capulet.

    • 23:10

      CLASS: Capulet!

    • 23:11

      KEITH PARK: But you needn't do Shakespeare, of course.You can use it with Benjamin Zephaniahor TS Eliot or Spike Milligan.Anyone.Talk of peace.

    • 23:20

      CLASS: Talk of peace.

    • 23:21

      MAL VALLER-FELTHAM: It fits in fullywith the literacy curriculum, in that we actuallystudy Shakespeare in year five, in year sixand again in year seven. [Mal Valler Feltham, Class Teacher,Little Stanmore] And it's a different way of interpretinga piece of work.

    • 23:34

      KEITH PARK: All Montagues.

    • 23:35

      CLASS: All Montagues.

    • 23:36

      KEITH PARK: And thee.

    • 23:37

      CLASS: And thee!

    • 23:38

      KEITH PARK: Coward.

    • 23:38

      CLASS: Coward.

    • 23:39

      KEITH PARK: [INAUDIBLE].

    • 23:40

      CLASS: [INAUDIBLE]!

    • 23:41

      KEITH PARK: [INAUDIBLE].

    • 23:42

      CLASS: [INAUDIBLE]!

    • 23:45

      MAL VALLER-FELTHAM: And there werespin-offs to that in our PSHE lessons.There were lots of issues arose overhow do children at Woodlands learn, how do they communicate.So one of the teachers at the schoollet us have access to a week's lessons plans,and we shared them with the class.And we spoke about how they couldplan for children without speech, or communication.

    • 24:08

      MAL VALLER-FELTHAM [continued]: We also spoke about disability.We spoke about human rights.So there were lots of spin-offs from the literacy thatfitted in with the curriculum perfectly.

    • 24:19

      NICK PEACEY: Were there any very unexpected consequencesfor individuals, or for colleagues, or within the workyou've been doing recently?

    • 24:28

      JOHN FELTHAM: Yeah.A young child from our school, oneof the children in Jill's lessons-- in fact,Rukshar-- going in a taxi to Little Stanmore School.And once she knew she was going to Little Stanmore School,she recited a verse from Shakespearein the back of the taxi.And the teacher was stunned.

    • 24:46

      JILL PALMER: I bet the taxi driver was stunned.

    • 24:49

      JOHN FELTHAM: And she had the signing to go with it.She was sitting there calling him a villain.It's just fantastic feedback.

    • 24:56

      NICK PEACEY: So you're looking at a sort of dynamic process,which will affect everybody, including,actually, communication between parents, teachers, home,and school, and so on and so forth.If it gets moving.

    • 25:06

      JOHN FELTHAM: Absolutely.It's a journey.And it's going to be a long journey,but I think the kind of curriculum that we're devising,the kind of access, the kind of differentiation,and the principles that are underpinningthe drive for our curriculum developmentshould support everybody along that journey.

    • 25:21

      NICK PEACEY: Have there been any particular difficult pointsor issues that you've had to deal with along the way?

    • 25:26

      JOHN FELTHAM: In a given school day, in a given period of time,it is difficult.Our staff meetings have changed as a consequence of this workbecause they are now very much conversations moreso about learning, if you like.And specifically, learning around this curriculum model.So out of every difficulty, or most difficulties,

    • 25:46

      JOHN FELTHAM [continued]: there does come a benefit.But I wouldn't be telling the truthif I didn't say there were times when I just couldn'tsee my way forward, in terms of the development that we'redoing.

    • 25:55

      STACEY LAWRENCE: Yeah.And I think also with the whole sort of communication beingfed now into the curriculum-- and I'msure that's just only going to keepdeveloping-- the evaluation is going to, presumably,completely change.And the people involved in the evaluation processwill probably change.And all of that will become very different.And that, again, not going to fit into the planning.

    • 26:16

      STACEY LAWRENCE [continued]: So it's just a revolving process.

    • 26:21

      KEITH PARK: The DFES has recentlypublished a package of materials on learningin primary school and the examples of practicedrawn from around the country.And they've chosen to include the Romeo and Juliet workshopfrom New Woodlands School and Little Stanmore Schoolto demonstrate that pupils with and without learning

    • 26:42

      KEITH PARK [continued]: disabilities can learn together.And inclusion need not necessarilymean locational inclusion, or social inclusion,but actually academic inclusion.

    • 26:52

      SPEAKER 3: Do you like this school?Do you like this school?

    • 26:56

      JOHN FELTHAM: Children come into this school in the morning.And they'll see me, and they'll do an insult, a Shakespeareinsult sign to me because that's their physical demonstrationof memory that they've been included.And what more could you ask for, really?

    • 27:12

      KEITH PARK: Everybody would like to grab hold--

    • 27:14

      SPEAKER 4: Before I went to Woodlands,I felt nervous and scared.Nervous because I didn't know how to interact with childrenwith disabilities.And scared because I didn't know how to react with them.

    • 27:23

      SPEAKER 5: The communication was hard,but then gradually, it got easier.I felt scared at first, but then I was normal.

    • 27:30

      SPEAKER 6: The Romeo and Juliet we donewas called call and response.The teacher was funny and kind.

    • 27:38

      SPEAKER 7: I did have a favorite.His name is Paddy.

    • 27:41

      SPEAKER 1: I enjoyed Romeo and Juliet.I'm glad that I wrote the letter because wegot to meet the Woodlands School children and the teachers.

    • 27:48

      KEITH PARK: Everybody help me!

    • 27:49

      CLASS: Everybody help me!

    • 27:51

      KEITH PARK: Everyone--

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Abstract

Educators review two very different lessons for students with special needs. The first, from Woodlands Special School, is a history lesson packed with strategies for special needs students. The second, a collaborative project with Little Stanmore Primary School, combines mainstream and special needs students for an interactive Shakespeare workshop.

Access the Curriculum

Educators review two very different lessons for students with special needs. The first, from Woodlands Special School, is a history lesson packed with strategies for special needs students. The second, a collaborative project with Little Stanmore Primary School, combines mainstream and special needs students for an interactive Shakespeare workshop.

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