Chesterton Community College Curriculum Mission Statement...Chesterton Community College –...

Chesterton Community College – Curriculum Mission Statement

Subject

: ART

Components Composite KS3 Mission Statement

What new knowledge and skills do we introduce? What do students

do with this

knowledge?

By the end of year 9, a Chesterton ART student

will…

Year 7 Year 8 Year 9 Transferable skills GCSE art and design

specific skills

Autumn

KNOWLEDGE Knotted fabric The formal elements: line, tone, composition, proportion and pattern. The characteristics of a range of drawing materials The characteristics of African patterns. OUT OF AFRICA What Africa is, and its range of cultural differences and identities. The purposes and characteristics of African masks. What printmaking is. Who are the Chokwe people, where are they from. Characteristics of moon masks Who are the Teke people, where are they from. How to roll cut and join clay HAZOUME Who is Romauld Hazoume and where is he from. Understanding of own cultural background. SKILLS Observational drawing Experimental drawing Wax resist, collage Mono printing, Press printing, Collagraph printing, Printmaking process and vocabulary, Cultural context, design process, sketch book layout. Analyzing an artwork. Clay rolling, cutting and joining Pattern design, papier mache, cutting, plastic manipulation, paint, control

KNOWLEDGE: Still life drawing Formal elements: line, tone, composition, proportion and pattern What a still life is, why artists use them. CUBIST PORTRAIT The charactistics of cubism What analytical and synthetic cubism is How to represent mood and emotion through colour, markmaking and shape Colour theory An understanding of what abstract and abstraction is The impact of ‘Damoiselles D’avignon’ on Art history DESIGN AND ABSTRACTION The diversity of art and differing forms of artistic expression. Application of art, craft and design Representing an idea through colour, mark making and shape SKILLS Observational drawing Experimental drawing Collage Mixed media Rubbings Wax resist Oil pastels Gathering resources Ipad manipulation Analysing message and meaning and context. Slab rolling, slump moulding, scraffitto. Card manipulation, mixed media, developing abstract art.

KNOWLEDGE Manipulated self-portrait drawing The formal elements: line, tone, composition, proportion and pattern. The characteristics of a range of drawing materials MANIPULATED PORTRAIT What manipulation means How to make simple digital manipulations How to analyse and artwork looking for message and meaning. Understanding of photography composition. How to edit more complex images. UP CLOSE The characteristics of Chuck Close’s work. What the context of his work is? Anything is possible if you break down a task into manageable sections – Chuck Close’s disability proves this. How to control acrylic paint. The characteristics of Frida Kahlo’s work. What the context of her work is. SKILLS Observational drawing Experimental drawing Ipad manipulation Written analysis Composing photographs Digital editing techniques Scaling up Using a grid as a drawing aid Group work Acrylic paint Context

Students make

observational, imaginative

and design drawings.

Students respond to artwork

through discussion, group

and practical activities.

Students make visual

analysis of an artwork.

Students make prints, mixed

media pieces, ceramic work,

digital artwork and paintings

in watercolour and acrylic.

Students evaluate their work

and that of others.

Students record their work

in a visually interesting way

in their sketchbooks.

have explored and celebrated similarities and difference between people, places and cultures

have developed visual literacy, communication skills, imagination and personal expression

have developed critical thinking skills such as problem solving and risk taking

have been nurtured through mindful activities developing their personal well being

have built their confidence, resilience and self-esteem through enjoyment and engagement in a broad and balanced curriculum.

be able to

develop ideas inspired by given artists

be able to refine work by experimenting with given materials

be able to record work and ideas in a visually

interesting way through drawing and annotation

be able to present a final response using visual language and formal elements.

Spring

Summer


Rational

e for

these

specific

compon

ents and

composi

te

outcome

s:

RATIONAL: The knotted fabric

drawing gives and opportunity

for teacher to get to know

students and their baseline

skills. This project allows

students to learn how to find

inspiration all around the world

and that art inspires art through

exploration of traditional and

contemporary African art.

This will help students to

become GCSE ready by

developing understanding of

Printmaking process and vocabulary

Cultural context

Design process Sketchbook layout

RATIONAL: The still life

drawing give teachers the

opportunity to get to know

their students and their

baseline skills. This project

allows students to find

inspiration from an established

art movement. Students

explore how leading artists are

inspired and that they can

‘break the rules’. They explore

art with a function and abstract

pieces.

This will help students to

become GCSE ready by

developing understanding of;

Art movement and context

Mixed media – experimenting with materials

Colour theory

Message and meaning

Developing design process Using sketchbooks to

communicate developing ideas

RATIONAL: The manipulated

portrait drawing gives teacher the

opportunity to get to know their

students and their baseline skills.

This project allows students to

explore how art can have value,

message and meaning whilst

developing key GCSE art and

photography skills.

This will help students to become

GCSE ready by developing

understanding of;

Photography compositional techniques and vocabulary

Ipad editing

Personal meaningful work Sketchbook communication, focus

on annotation

Breaking down tasks into manageable sections

Exceptional skill level

How is

challenge

embedded

into the KS3

curriculum?

How does

this build on

KS2?

Challenge is important in Art, students are faced with new methods and materials, put outside of their comfort zone and asked to come up with their own ideas and opinions. We use

learning by discovery to promote exploration of materials, learning by doing and dispel fear of failure. This builds resilience and confidence. Each lesson can be posed as challenge or

a problem to be solved. We use CLAPS (challenge, learning, achievement, progress, success) vocabulary to frame our lessons and promote challenge.

Students come to us not having experienced separate art lessons, they will have mixed knowledge and skills from their feeder schools so we build on any prior knowledge and skills

with a focus on enjoying a range of artwork and practical experiences whilst developing GCSE ready working methods.


Subject: Components Composite KS3 Mission Statement

What new knowledge/content do we introduce? What do students do

with this knowledge?

By the end of year 9, a

Chesterton history

student will… Year 7 Year 8 Year 9

Autumn

In these boxes you should

briefly list any new content

covered at that time. E.g.

‘Romeo & Juliet’ or ‘Cells’.

In this box, please briefly describe

the types of complex activity

students in your subject area will

seek to complete utilising their

new component knowledge.

These might be practical activities

in science, complex mathematical

problem solving, or extended

essay writing.

What is the point of students

studying your subject at KS3?

How does this link into

Chesterton’s KS3 mission

statement?

Why is what you’ve taught them

so powerful, and how might they

take this with them and use it in

later life?

NB: this is not to be linked to being

KS4 ready, or tied to exam

outcomes in year 11 – why should

all students cover your KS3

curriculum, regardless of what

they go on to do?

Spring

Summer

Rationale for these

specific components

and composite

outcomes:

In these boxes, you should seek

to justify your curriculum choices

in a way that is accessible to

someone else, e.g. why have

you opted to teach topic x over

topic y?

In this box, you should seek to

explain why the composite

activities students attempt in your

subject area are appropriate,

challenging and worthwhile.

How is challenge embedded

into the KS3 curriculum?

How does this build on KS2?

In this box, please explain how challenge is embedded across your KS3 curriculum.

What does a challenging lesson look like in your subject?

What has been studied at KS2? How do you recap and build on the knowledge/skills learnt in KS2?

How are you ensuring you are stretching students beyond what they have learnt in KS2?

Subject: History Components Composite KS3 Mission Statement




Chesterton history

student will…

Year 7 Year 8 Year 9

Autumn

Why did William win the Battle of

Hastings?

How far did the Normans change

England?

Why should we study the

Tudors?

Why did civil war break out in

1642?

How have 20th century freedom

fights changed today’s world?

Why did WWI break out in 1914?

Students engage with a range of

different conceptual foci across KS3,

with each course adopting a different

focus in terms of disciplinary skills.

Students are asked to learn new

content through a conceptual lens; for

example historical change,

significance, or causation. Students are

then asked to use these lenses to

shape extended, evidenced written

work.

1) Have a sound

understanding of the key

turning points in British and

global history which have

shaped the world we live in

today.

2) Be adept at constructing

carefully evidenced and

well-judged arguments

through debate, discussion

and extended writing.

3) Possess powerful

knowledge concerning the

historic political struggle of

key groups in our immediate

society and around the

world.

Spring

Why was Thomas Becket

murdered in 1170?

When did the Magna Carta

become significant?

How ‘glorious’ was the revolution

of 1688?

How dramatically did British life

change in the 19th century?

Why was Europe a hotbed of

dictatorships by 1939?

Case study: How did Hitler

become Fuhrer by 1934?

Summer

What was so special about

Medieval Baghdad?

Why can’t we treat Native

Americans as ‘all the same’?

Why is the British Empire

controversial?

How did slavery come to be

abolished across the British

Empire?

What caused WWII to break out

in 1939?

How should we remember the

Holocaust?

Rationale for these

specific components

and composite

outcomes:

The curriculum in year 7 ensures students have

covered key events in history which underpin

power structures in Britain to this day, and have

shaped the course of history via powerful

enquiries which investigate the interplay between

Church and state, and how ancient documents

such as the Magna Carta still exist as significant

features of both our laws, and our fundamental

British values.

The Medieval Islamic world is considered in all

its glory, with students learning about early

discoveries in medicine, literature and

architecture. The question of diversity is raised

when students study a range of Native American

tribes, in a course which seeks to challenge the

notion of stereotypes.

The key ideas underpinning year 7: What does it

mean to study history? How have 1000 year old

decisions changed our lives today?

The year 8 curriculum tracks the story of shifting

power balances in Britain, starting with the

authoritative Tudor dynasty, and then on to

considering the extent to which Britain

experienced ‘revolution’ via studies of dramatic

political and economic upheaval which have

shaped today’s Britain in myriad ways.

The changing global landscape of the 18th and

19th centuries is illustrated through challenging

enquiries into the controversy of Britain’s empire,

and the fight for the abolition of slavery. These

enquiries allow students some of their first real

insights into historiography, as they encounter ad

grapple with the wide range of viewpoints held by

historians of these periods.

The key idea underpinning year 8: How have the

dramatic societal changes between1500-1900

shaped the Britain we live in today?

Year 9 begins with an enquiry which tells the story

of the 20th century through the eyes of those who

have struggled for acceptance: students discover

the stories of the African American civil rights

movement; the Women’s Liberation movement;

the fight for LGBT rights; the story of Apartheid.

Students consider the ways in which these

‘freedom fighters’ have shaped the community

and world they live in.

Students are then asked to undertake enquiries

into the causation behind two catastrophic world

wars, as well as establishing what key factors

allowed for the rise of ‘dangerous dictators’ in the

1930s. Students end the year by contemplating

how best to remember the Holocaust.

The key idea underpinning year 9: How can we

stop the catastrophes and injustices of the 20th

century from happening again?

The composite activities extend

students’ ability to write in an erudite

and convincing way, as well as

developing the way in which they

select and deploy evidence to support

their ideas. Students are encouraged

to develop their own historical

judgements and conclusions based on

the work of other historians as well as

available evidence, which ensures

composite activities are challenging:

students are grappling with genuine

historical controversies in their work.




Students engage in lively and rigorous historical debate in all their lessons

Students are posed genuinely difficult questions to answer; incremental development of knowledge and conceptual understanding builds towards answering these each half term

All history enquiries are pitched at an aspirational level in terms of challenge. Work is then differentiated to allow all students access to genuine historical debates.

Students encounter a wide variety of historical topics at primary school depending on where they go. This KS3 curriculum seeks to stretch students from the outset by introducing

a wide range of new conceptual foci, as well as teaching content in a rigorous, chronological and conceptually focussed way from the outset.


Students at Chesterton Community College experience a broad, engaging and rigorous curriculum at Key Stage 3, which allows for

deep engagement with a wide range of subject areas. In all subjects, students are taught carefully selected component content

which enables them to access meaningful, complex composite activities.

Chesterton students are able to express themselves fully, through their written work as well as through discussion, and involvement

in the creative arts. Students have the confidence to learn from others whilst making their own decisions.

Chesterton students are engaged, curious and well-informed. We ensure they are equipped with the correct tools to make the

transition to young adulthood with the ability to debate and discuss key issues related to our wider society.

Chesterton students are prepared for independence. They are numerate as well as literate, well-informed regarding personal

safety, and able to take responsibility for their own actions. Students show resilience in a range of situations and are equipped to

lead an active, healthy lifestyle.

Chesterton students are part of a cohesive community. Students are fully aware of the diversity of their immediate school community

as well as wider society, and are able to sensitively and respectfully interact with people from a range of backgrounds. Students are

active in challenging prejudice and knowledgeable in terms of the origins of prejudice in our society.


Subject: Computing Components Composite KS3 Mission Statement




Chesterton history


Autumn

HTML using

Notepad Making a Multi-Page

website

Python

Programming or Storyboardthat.com

LMC and Advanced

Python Programming or

Stroyboardthat.com

Understand that being

able to program is

accessible and not the

exclusive preserve of

the very clever.

They are encouraged to

see that programming

can be used across a

range of different

applications and is,

generally, useful.

Either be able to

program competently,

using Python and LMC

or understand some of

the fundamentals of the

main components of

iMedia / DIT in

preparation for that

qualification.

They should be able to

make informed,

accurate decisions

about their Year 10

options and not find

themselves on the

wrong course.

Spring

Animation Using

Piskel Psuedo Code and

Flow Charts

(Advanced Python Programming or Animation )and Advanced Excel

Techniques

(Advanced Python Programming or Animation )and Advanced Excel

Techniques

Summer

Python

Programming to create a Game

Make a Game using

gDevelop5

Make a Game using

gDevelop5

Rationale for these

specific components

and composite

outcomes:

Introducing two different programming/scripting

languages and also making animations to

demonstrate computing can be fun!

Build on previous Python knowledge. Introduce advanced

Excel, including logic. Develop a Game as a

summer project

Build on previous Python knowledge. Introduce advanced

Excel, including logic. Develop a Game as a

summer project

How is challenge embedded into the KS3 curriculum? Students are encouraged to develop their

projects as much as they possibly can and are graded on the level of complexity that they are able

to demonstrate. Regular competitions are held across the KS3 and KS4 curricula and students

are encouraged to join one of several clubs that are run every week.

How does the KS3 curriculum above build on previous learning in KS2? Generally it doesn’t.

We tend to spend time convincing the students that knowing Scratch is not necessarily useful to

them at KS3.


Subject: Drama Components Composite KS3 Mission Statement




Chesterton drama


Autumn

An understanding of ‘drama as

conflict’ and an appreciation of

how character is created through

emotion-driven intentions.

Experience of scripting/devising a

drama which combines comic and

serious moments, and depicts

characters that change in attitude.

Working with play texts studied at

GCSE level (by Enda Walsh, Alan

Bennett and J B Priestley) students

consider innovative ways of

staging these texts, using devices

such as telephones and

conventions such as a missing

screen. They experience the

process of learning complex

dialogue off by heart.

Continuing from the end of Year

8, students create dramas on the

theme of young homelessness/

running away, incorporating

research and a range of dramatic

forms (including rap) into a group

devised performance influenced

by the musical ‘YoHo’. They self-

direct, influenced by teacher-

directed stimuli.

They act out devised and scripted

performances, in groups and as

solo artists;

The participate in warm-up, skills-

based games and exercises

They demonstrate the ability to

communicate with others in a

formal and discursive setting;

They evaluate key moments of

assessment in writing and in

conversation/presentation.

Some go on to take GCSE Drama

and then pursue further study in

this area;

All transfer their communication

skills and improved self-

confidence to other aspects of the

curriculum and in their daily lives.

Know how

performances are

conducted in a

professional way

(announcing work,

performing in front of an

audience, applauding

and evaluating work in a

public discursive

context). Be able to use

subject specific

vocabulary that links to

other careers and

power structures, as

well as possess

awareness of social

skills that will benefit

them in relationships

Spring

An appreciation of mime as a form

in which dramatic expression is

silent, but speaks a universal

language through the body. An

understanding of how

exaggeration, resistance and

energy is required to succeed with

this form. At counterpoint, an

emerging understanding of how to

motivate others through speech.

Students gage a deeper sense of

Shakespeare in performance and

experiment with how to design the

more supernatural elements of his

drama, as well as how 21st century

theatre practice requires publicity

that is creative and dramatic. They

practically explore tetrameter and

other musical features of

Shakespeare’s language. They go

on to create their own pantomimes,

influenced by the non-naturalistic

elements of 16/17th century theatre.

Inspired by the methods of voice

teacher Patsy Rodenburg and

social observations of power

structures, students are coached

into delivering solo speeches from

history off-by-heart to their

classes. In the process, they

explore forum theatre and the way

it can be used to address real-life

situations in which abuses of

power might occur, and consider

what it means to be ‘present’ and

become a positive leader, growing

familiar with body language

theories, sightlines and

proxemics.


Summer

An exploration of popular forms of

arts and entertainment, and of

what a careers in musical theatre

might involve, focusing on

auditions that require multi-

disciplinary techniques.

Having presented an extract or full

large cast pantomime as a

polished performance,

incorporating

lights/sound/costume/set, students

contrast this ‘larger than life’ study

of comedy/magic with an

exploration of more realistic and

social-based issues through

drama. They consider abstract and

physical ways through which

radicalisation might be addressed.

Students explore more personal

means of expression and

communication on stage,

developing creative writing skills

that link to GCSE devising

techniques/ art as autobiography.

They explore extracts from

contemporary plays written for

young people and consider their

relevance. At counterpoint, they

work in groups to stage an extract

from the musical ‘Grease’ as a

means of recognising the need for

light relief in theatre.

and in vocations and

jobs for life.

Rationale for these

specific components

and composite

outcomes:

To give Year 7 a comprehensive

appreciation of what it means to

create and perform, and to

challenge their skills set as actors

in using both voice and movement.

To enhance students’ awareness

of the range of styles and historical

forms and genres that can be

integrated into modern theatre.

To empower students in their

individual abilities to communicate

as public speakers and in the

workplace; to mature and become

more aware of real-life issues and

problems in society, so as to

show empathy and see the power

of catharsis that exists in theatre.

How is challenge embedded into the KS3 curriculum?

Through the skills developed, the performance opportunities, the group work, the texts studied,

the focus required and the contexts and vocabulary referenced.

How does the KS3 curriculum above build on previous learning in KS2?

In previous learning, drama is not taught as a subject, but has often only been taught as ‘school

plays’ with non-specialist staff leading them. There is enormous leap to be made simply in the

sense of attending their first drama lesson. The practices of warm-ups, vocal and physical

techniques, devising and performing to an audience are all new concepts in a serious sense.

Students are also encouraged to attend the extra-curricular clubs on offer from the drama dept

(both for performers and technicians) and the notion of after-school rehearsals is again, a

challenge for many who have not in any way experienced this before.


Subject: ENGLISH Components Composite KS3 Mission Statement




Chesterton English


Autumn

AUTUMN 1:

AUTOBIOGRAPHICAL

WRITING - Students

consolidate and build on their

knowledge of grammar and

vocabulary including effective

use of anecdotes; discourse

markers; synonyms; varied

sentence types; and varied

vocabulary and punctuation

used in non-fiction writing.

Students are given the

opportunity to develop and

hone their skills in spoken

language by giving a formal

presentation.

AUTUMN 2: CLASS NOVEL

(CURRENTLY HARRY

POTTER) Students read a

text with which they are likely

to be familiar, providing them

with a comfortable basis on

which to develop their

inference and deduction

skills. They are taught how to

AUTUMN 1: SHAKESPEARE

(CURRENTLY’ A MERCHANT

OF VENICE’) Students deal

with this Shakespeare text,

which offers increasingly

challenging material to that of

earlier extracts explored in Year

7. Students explore the plot,

setting, themes and characters,

whilst knowledge such as

iambic pentameter, blank verse,

soliloquies etc. are also

consolidated. Students are

also, for the first time at

Chesterton, introduced to

expository essay writing, being

familiarised with organisation

methods and relevant formal

discourse markers / signposts.


(CURRENTLY ‘A CHRISTMAS

CARO’L, 19TH CENTURY

TEXT). Students explore this

19th century text in order to

AUTUMN 1: POETRY –

Developing their knowledge of

poetic conventions (caesura;

apostrophe; visual / aural /

olfactory / gustatory / tactile

images etc.) and broadening

their knowledge of poetry

using increasingly challenging

material to include 19th century

works, such as Blake, to

modern contemporary poets

such as Simon Armitage and

Jonny “Itch” Fox. This unit

also introduces the students to

exam techniques which will be

useful at GCSE, such as using

the S.M.I.L.E. approach to

analyse previously unseen

poems.


(CURRENTLY ‘THE HUNGER

GAMES’). Arguably a seminal

text of dystopian fiction from

the noughties, students

develop their ability to read

Students engage with a

range of tasks across KS3,

with each half-termly unit

being assessed on seven of

the fifteen skills separated in

to two disciplines: as Reading

and Writing.

Reading: Summarising;,

Comprehension, Reading

Between the Lines,

Evaluating Structure,

Evaluating Language and

Grammar, Use of Textual

References, Making Links to

contexts, and Comparing

Texts.

Writing: Content,

Communication with the

Reader, Structure, Sentence

Types, Punctuation

Vocabulary, and Spelling.

Tasks include reading and

writing fiction (poetry, novels,

1) Speak and write

fluently so that they can

communicate their

ideas and emotions to

others, and through

reading and listening

others can

communicate with

them.

2) Have a sound

understanding of the

English Literary Canon.

3) Possess knowledge

and understanding of

how communication is

at the heart of a

successful society; how

it plays a key role in the

development of

civilisation, and how

language and literature

has the power to unite

us emotionally,


summarise what they have

read concisely, and how to

write critically and the PEE

structure which will form the

basis of all future analytical

writing

make critical comparisons with

a modern text. Students

develop and progress their

critical writing skills in order for

them to compare extracts from

ACC with another text,

particularly with a view to their

situational context (in view of

the demands of Paper 1 of the

GCSE Literature exam).

extracts from a range of

dystopian fiction critically,

making inferences and

referring to evidence from the

text, in order to make critical

comparisons. New ‘tools’

include Joseph Campbell’s

Monomyth theory and Edward

De Bono’s Thinking Hats as

students hone their written

analytical skills using the PEE

structure..

and plays); non-fiction

(magazine and newspaper

articles, letters, and reviews);

and literacy non-fiction

(autobiographies and

accounts of events).

Students also engage in

discussions, debates and

give individual and group

presentations to develop their

spoken language skills.

intellectually, socially

and spiritually, whilst

celebrating our

differences culturally.

Spring

SPRING 1:

SHAKESPEARE’S MAGIC -

Students read extracts from

Shakespeare’s plays which

they may be familiar with

previously, including

Macbeth, A Midsummer

Night’s Dream, Hamlet and

the Tempest, focusing on the

magical and the fantastical.

Students make links to

context and learn how the

context of writing helps inform

and shape it. Students’

vocabulary is widened to

include dramatic terms such

as blank verse, rhymed

verse, monologue, soliloquy

and iambic pentameter.

Students are given the

SPRING 1: CLASS NOVEL

(CURRENTLY ‘THE CURIOUS

INCIDENT OF THE DOG IN

THE NIGHT-TIME’) – Students

read the novel, engaging with

the narrative’s plot, setting,

themes and characters –

particularly focusing on the

novel’s unusual protagonist,

Christopher, allowing the

introduction of the literary

device an unreliable narrator.

As the assessment takes the

form of a piece of creative

writing, in the form of a letter

from the p.o.v. of one of the

characters in the novel,

students revisit and hone their

skills of utilising punctuation and

vocabulary for effect, having to

SPRING 1: NOVA FICTION –

further development and

application of their knowledge

of vocabulary, grammar and

text structure in creative

writing; specifically the impact

of syntax, punctuation and

vocabulary choices to shape

meaning. This unit also

introduces the students to


useful at GCSE, such as how

to evidence creative writing

skills within a given time frame.

SPRING 2: RHETORICAL

COMMUNICATION – Students

define, identify and apply

Aristotle’s three modes of

persuasion: ethos, logos and


opportunity to develop and

hone their skills in spoken

language through

improvisation, rehearsal and

performance of extracts from

Shakespeare’s scripts in

order to generate debates on

language use and meaning,

including intonation, tone,

volume and silence to add

meaning and discuss impact.

SPRING 2: POETRY –

Students study a number of

poems, recognising a range

of poetic conventions and

forms, and understanding

how these have been used.

Many of these are

consolidated from KS2

(onomatopoeia, simile,

metaphor, personification)

whilst some are new to

students such as assonance,

enjambment, cacophonic and

euphonic sound. Students

define and identify these in

the work of others, and apply

these techniques in their own

work.

carefully consider how these

can be used for impact and to

create meaning whilst writing in

role – having the audience,

purpose and format already

specified for them.

SPRING 2: SHORT STORY

WRITING – Students explore

some short stories from writers

such as Dahl, Horowitz,

Gosling, Allan Poe and Carter.

Students are introduced to

Todorov’s Narrative theory and

Propp’s Character theory.

Students explore how writers

have used and, sometimes,

subverted these conventions

and expectations. Students

plan, draft, edit and proof read

their work, applying their

growing knowledge of

vocabulary, grammar and text

structure to create desired

effects.

pathos, including hyperbole,

direct address and rhetorical

questioning. This unit also

introduces the students to


useful at GCSE, including

writing transactional

communication, such as

letters, in their correct formats.


Summer

SUMMER 1: UNSEEN

PHENOMENA

Students study a range of

non-fiction texts based on

phenomena, such as “The

Bloop”, “The Bermuda

Triangle”, “’Ghost’ Sightings”

etc. Scanning and skimming

techniques are defined and

practised, in addition to

refining summarising skills

and improving inference and

deduction. Work on

understanding on how

context (historical, cultural

and social) impacts a text is

also honed having begun

exploring this earlier in the

year during our study of

Shakespeare.

SUMMER 2: READING

VISUAL LANGUAGE –

Students read “The Arrival”

and “The Red Tree” by Shaun

Tan; “The Fox” by Margaret

Wild and Ron Brooks. New

vocabulary is introduced to

allow students to articulate

their understanding of this

literary medium fast-growing

in popularity: panel, caption,

SUMMER 1: CLASS PLAY-

TEXT CURRENTLY ‘BLOOD

BROTHER’S BY WILLT

RUSSELL – This is the only

opportunity that students get to

explore a dramatist, other than

Shakespeare, and study how

drama can be communicated

effectively through performance.

Students examine how

characters can be effectively

conveyed through choice

diction; how motifs and refrains

can be used to reinforce

themes; how staging can be

used to influence interpretation;

and how literature can help

shape us and make sense of

the world around us.

SUMMER 2: MODERN FILMS

AND MEDIA; SUBVERSION IN

ANIMATION – Students explore

how the Media, particularly

animation, has changed over

the past decades and is now a

force to be reckoned with as it

challenges expectations. By

using familiar films, such as

‘Shrek’, ‘Enchanted’ and

‘Frozen’, students are

introduced to different literary

SUMMER 1: SHAKESPEARE:

ROMEO AND JULIET –

Students are introduced to the

setting, plot and characters in

R&J in preparation for their

GCSE study of the text in year

10. Key moments, themes and

significant quotations are

highlighted. Where possible

students read the whole play

and / or watch a performance

live or on film.

SUMMER 2: CREATIVE

WRITING: THE HORROR

GENRE - How do writers

create horror, tension and

suspense in their writing?

Extracts from notable texts

explored include Edgar Allan

Poe, Mary Shelley, Bram

Stoker, George Orwell and

Stephen King. Students draw

on their knowledge of these

‘horror greats’ to enhance the

impact of their creative own

writing.


compositional flow, gutter

balloon etc. Students also

debate its place in the literary

cannon taking in to

consideration works such as

“Maus” and “V For Vendetta”.

theories such as Marxist,

Feminist, Psychoanalytic etc.

Rationale for these

specific components

and composite

outcomes:

The curriculum in year 7

ensures that students are

exposed to the many different

facets of English Studies

within their first year (reading

and writing fiction, non-fiction,

and literary non-fiction texts).

Students are provided with

opportunities to demonstrate

existing knowledge, develop

skills and experiment with

new grammar and

vocabulary.


ensures that students continue

to be stimulated and nurtured as

young readers and writers. The

texts are more challenging than

in year 7, and the introduction to

theories and theorists begins to

widen students’ understanding

of how both Language and

Literature has, and continues to,

document, decipher and

influence our world.


ensures that students are fully

prepared for the demands and

challenges at GCSE.

Exposing students to a range

of carefully selected poetry

allows us to demystify poets

and movements (such as

Romanticism); our novel of

choice seeks to inspire young

readers to not leave fiction

behind, at a time when so

many have become reluctant

readers; rhetorical writing

refocuses those who have a

wavering understanding of

how English studies affects /

impacts the ‘real world’; whilst

the imagination of many are

stimulated by the fascination

with ‘the horror genre’,

resourcefully allowing the

introduction of writers from the

literary cannon, such as Poe,

Shelley and Orwell.

The composite of the

components studied

throughout KS3 allow

students to reach the very

highest standards of

language and literacy in

English. Our programme of

study is rooted in providing

students with diverse

opportunities to grapple with

texts across the spectrum of

the existing literary canon, to

texts which are set to become

canonical. Collectively, the

components offer a

challenging, stimulating and

demanding composite,

encouraging students to

develop their skills creatively,

critically and effectively,

whilst pushing the boundaries

of English studies. Ultimately

we nurture and inspire our







young readers and writers to

reach their potential.


Students grapple with challenging theories, theorists, and writers of modern and

literary heritage texts

Students engage in lively debates and performing individual and group presentations

Students learn new subject specific terminology in order to improve their ability to

articulate ideas and understanding.

All English tasks are pitched at an aspirational level in terms of challenge. Work is then

differentiated to allow all students access all texts and creative stimuli.


- Mastery of skills introduced at KS2 (notably Years 5 & 6): making inferences; making

predictions; summarising; identifying how language, structure and form contribute to

meaning; comparing characters, setting and themes; and making reasoned justification

for views and opinions of texts.

- Increase knowledge of a wide range of texts, building on familiarity of writers studied at

KS2.

- Providing students with more challenging opportunities of transcription and

composition.

- Building a more comprehensive and accurate knowledge of vocabulary, grammar and

punctuation in a bid to increase range and accuracy.

Evidence based on the National Curriculum and discussions with KS2 primary

teachers


Subject: Geography


What new knowledge/content do we introduce? What do students do with this knowledge?

By the end of year 9, a Chesterton Geography


Autumn

Exploring Geography (map skills)

Amazing Places (geographical skills & concepts)

Plate Tectonics

Earthquakes

Coastal Erosion

Coastal Deposition

Problem solving through both practical immersive simulations and real life mapped scenarios

Apply knowledge and understanding to identify and justify the use of a chosen management solutions to solve a particular issue

Apply to real world contexts and evaluate outcomes

be able to express their opinions as global citizens through their written work as well as through discussion, learning from others whilst making their own decisions

be engaged, curious and well-informed about their world (natural and human)

be confident in debating and discussing key geo-political issues around the world (both current & future)

be able to reflect on and begin to take responsibility for their own global footprint

be aware of global diversity, inequalities and injustices amongst people. They will sensitively and respectfully consider the lives of those less fortunate than themselves, actively challenging prejudice

Spring Rivers

Flooding

Tropical Rainforests

Deforestation

Climate Change

Development

Summer Sustainability Megacities Food Resource

Management

Rationale for these specific components

and composite outcomes:

To obtain an understanding of our year 7’s place knowledge.

To identify and ‘fill in’ the gaps that year 7s arrive with. Including identifying & addressing misconceptions.

To introduce complex geographical terminology and basic processes in a specific environment (rivers).

To provide a mix of human, physical and environmental geography.

To begin to explore the complex interrelationships between humans and the natural environment.

To address current topical issues (deforestation) and encourage personal reflection and debate.

To introduce geology & small-scale geopolitical ideas.

To study a mix of human, physical and environmental geography.

To reflect on human impact on the natural world, develop opinions and suggest possible alternatives.

To build on year 7 river process by applying to a more complex system (coasts).

To provide a mix of human, physical and environmental geography.

To explore international geopolitics and global economics.

To address current topical issues (climate change) and encourage personal reflection and debate.

To reflect on human impact on the natural world, develop opinion and suggest possible alternatives.

These activities are appropriate, worthwhile & challenging:

Real world application of ‘being a geographer’ – this is how this knowledge is used in the field

Students are encouraged to formulate their own judgements based on available evidence

Students are encouraged to be critical of existing real world management strategies


Students actively engage in GCSE level work from year 7 using GCSE terminology and learning GCSE skills from the outset.

Incremental development of knowledge and conceptual understanding builds within and across each year at KS3

All lessons are fully resourced and pitched at potential 7 students. Work is then differentiated by class teachers. The expectation is that all students are taught up to grade 7 (minimum) within lessons irrespective of their potential.

Challenge is also evident in: homework challenge tasks, KS3 Edmodo challenge reading lists, opportunities to choose activities, inbuilt extensions within tasks in lessons

How does the KS3 curriculum above build on previous learning in KS2? Our first unit met in year 7 ascertains to what extent students have been taught from the Geography NC at KS2. Generally we find that Geography is not taught as a separate entity in primary schools and a greater focus is on History. In many cases, students have a somewhat stereotypical view of ‘place’ through Humanities projects as opposed to through a geographical lens. We also find that basic geographical skills lack (i.e map skills and place knowledge – both basic requirements of the KS2 NC). We therefore spend the first term teaching them what they should already be equipped with from KS2.


Students at Chesterton Community College experience a broad, engaging and rigorous curriculum at Key Stage 3, which allows for deep

engagement with a wide range of subject areas. In all subjects, students are taught carefully selected component content which enables them to

access meaningful, complex composite activities.

Chesterton students are able to express themselves fully, through their written work as well as through discussion, and involvement in the

creative arts. Students have the confidence to learn from others whilst making their own decisions.

Chesterton students are engaged, curious and well-informed. We ensure they are equipped with the correct tools to make the transition to

young adulthood with the ability to debate and discuss key issues related to our wider society.

Chesterton students are prepared for independence. They are numerate as well as literate, well-informed regarding personal safety, and able to

take responsibility for their own actions. Students show resilience in a range of situations and are equipped to lead an active, healthy lifestyle.

Chesterton students are part of a cohesive community. Students are fully aware of the diversity of their immediate school community as well as

wider society, and are able to sensitively and respectfully interact with people from a range of backgrounds. Students are active in challenging

prejudice and knowledgeable in terms of the origins of prejudice in our society.






Chesterton history

student will…


Autumn


Hastings?


England?


Tudors?


1642?














work.

1) Have a sound





today.






3) Possess powerful





world.

Spring


murdered in 1170?


become significant?


of 1688?







Summer


Medieval Baghdad?




controversial?



Empire?


in 1939?


Holocaust?

Rationale for these

specific components

and composite

outcomes:









British values.










































1930s. Students end the year by contemplating

how best to remember the Holocaust.

The key idea underpinning year 9: How can we

stop the catastrophes and injustices of the 20th

century from happening again?

The composite activities extend

students’ ability to write in an erudite

and convincing way, as well as

developing the way in which they

select and deploy evidence to support

their ideas. Students are encouraged

to develop their own historical

judgements and conclusions based on

the work of other historians as well as

available evidence, which ensures

composite activities are challenging:

students are grappling with genuine

historical controversies in their work.




Students engage in lively and rigorous historical debate in all their lessons

Students are posed genuinely difficult questions to answer; incremental development of knowledge and conceptual understanding builds towards answering these each half term

All history enquiries are pitched at an aspirational level in terms of challenge. Work is then differentiated to allow all students access to genuine historical debates.

Students encounter a wide variety of historical topics at primary school depending on where they go. This KS3 curriculum seeks to stretch students from the outset by introducing

a wide range of new conceptual foci, as well as teaching content in a rigorous, chronological and conceptually focussed way from the outset.


Subject: Latin Components Composite KS3 Mission Statement




Chesterton Latin


Autumn

-How did Caecilius’ family

live? (Roman houses and

family roles)

-What was life like for a

child my age in Pompeii?

(Roman Schools)

-What was life like in a

Roman town? (The Town of

Pompeii)

A Myth

Stages 1-3 CLC –

nominative and accusative

singular, present tense 3rd

person singular verbs

- Who are the Roman gods

and goddesses? Student

presentations

(Make your myth competition)

-The Romans at Bath (aquae

sulis)

CLC Stage 10-12

-Roman influence in Egypt

-Goddess Isis

-Roman medicine

-Roman processions

How do the Roman manage a

multicultural city?

CLC Stage 18-19

Students read Latin for

comprehension and

translation. The subject matter

of the Latin topics relates

directly to the cultural topics

they are studying instilling,

from the beginning, so that we

learn Latin in order to learn

about the Romans in their

own words.

Students are constantly

encouraged to draw links

between their learning in Latin

and other languages –

derivatives are pointed out

regularly and English literacy

is reinforced consistently.

They are also encouraged to

bring their knowledge into

dialogue with the modern day

– asking, for example, how far

the way we choose to spend

our leisure time has changed

since Roman times.

…be able to read a passage

of Latin (of the appropriate

level) and gain understanding

of it within its context. To do

this they have to have a good

knowledge of vocabulary,

accidence and syntax. They

have developed skills to skim

read and closely read Latin

texts.

…be able to use ancient

sources as evidence to

construct convincing

arguments about ancient

history.

…have a broad ranging

knowledge of the social

history of Ancient Pompeii,

Alexandria and Roman

Britain.

.. be beginning, through their

study of the Romans in Egypt

and Britain, to understand the

Spring

- How did slavery work?

How did it impact the

Roman empire?

- How did the Romans

entertain themselves at

home? (Roman dinner

parties/recitations)

- A myth

Stage 4-6 – nominative and

accusative plural, 1st, 2nd, 3rd

person verbs, present

tense, esse

- Who was Hercules?

What did he do? How is he

portrayed in art? What makes

a Hero?

- Roman Britain: Who was

Boudica? What did she do?

Is she an admirable figure?

CLC Stage 13-15

-The Epic Cycle of the War

with Troy

-Greek Tragedy: The story of

Oedipus

CLC Stage 20-23


Summer

- How did the Romans

entertain themselves in the

public sphere? (Gladiatorial

combat,

Chariot Racing)

Stage 7-9 – nominative,

accusative, dative s and pl.

- Roman Britain: The Roman

palace at Fisbourne, King

Cogidubnus, Hadrian’s wall

How did the Romans rule

Britain successfully?

Why do we build walls?

CLC Stage 16-17

- Mythology Presentations

(heroes: Bellerephon,

Theseus, Perseus, Atalanta,

Jason)

- Roman Religion: sacrifices

CLC Stage 24-26

Students complete

presentations on chosen

subjects to encourage

classroom talk and strong

oracy skills. There is an

emphasis on peer teaching as

some topics are left solely to

the students to teach.

Students write imaginative

responses to ancient material,

immersing themselves in the

evidence they can glean from

original sources.

impact of the Roman Empire

on the Ancient world at large

as it came into contact with

other civilisations.

….have a sound

understanding of the

foundational myths which

underpin the Roman

worldview and how this

impacts our knowledge of

Roman religion and morality.

Rationale for these

specific components

and composite

outcomes:

We roughly follow the

order in which the

Cambridge Latin Course

introduces language

material. Students enjoy

learning through the

medium of a real

Pompeiian family.

Civilisation topics centre

on those that are most

relevant and relatable to

modern life – students

begin to build a critical

response to what they

are learning.

We introduce more

mythological content now

that the students have a

sound understanding of the

contextual framework

within which these myths

were being told. Our focus

turns to Roman Britain and

the physical evidence of

the Romans in the UK. We

provide opportunity to

develop the students’ oracy

and presentation skills.

In Y9 students are

encouraged to become

familiar with the key myths

which inform all of the

Roman literature, art and

architecture.

They are encouraged to

be critical of the impact of

the Roman empire in

Egypt and engage in this

confluence of cultures.


Students at Chesterton Community College experience a broad, engaging and rigorous curriculum at Key Stage 3, which allows for deep

engagement with a wide range of subject areas. In all subjects, students are taught carefully selected component content which enables them to

access meaningful, complex composite activities.

Chesterton students are able to express themselves fully, through their written work as well as through discussion, and involvement in the

creative arts. Students have the confidence to learn from others whilst making their own decisions.

Chesterton students are engaged, curious and well-informed. We ensure they are equipped with the correct tools to make the transition to young

adulthood with the ability to debate and discuss key issues related to our wider society.

Chesterton students are prepared for independence. They are numerate as well as literate, well-informed regarding personal safety, and able to

take responsibility for their own actions. Students show resilience in a range of situations and are equipped to lead an active, healthy lifestyle.

Chesterton students are part of a cohesive community. Students are fully aware of the diversity of their immediate school community as well as

wider society, and are able to sensitively and respectfully interact with people from a range of backgrounds. Students are active in challenging

prejudice and knowledgeable in terms of the origins of prejudice in our society.




Latin is a new subject to the vast majority of students. In KS2 most students have studied the Romans or Greeks in some capacity. We work to situate this learning

within a more concrete contextual framework and encourage students to think more critically about Roman influence on society.

Asking students to think about the latin language demands a fresh approach to syntax and grammar in English, highlighting how sentences fit together. Though this

is now taught more in primary schools, it is still new to most students.

The breadth of Greek and Roman mythology challenges most adults with its complexity, and introducing various threads of different myths to incorporate a cross-

section of ancient stories is a challenge which most students relish. In KS3 most students know some stand alone myths, we expand this knowledge to link in with

other epic/mythic cycles and encourage them to think about the significance of these myths in society.

Overall, we seek to create enthusiasm for all aspects of the ancient world from art and archaeology, to complex grammar, to literature, history, philosophy and

linguistics.


Subject:

Maths


What new knowledge/content do we introduce? What do

students do

with this

knowledge?

By the end of year 9, a Chesterton history


Autumn

Exploring rounding

numbers through

the use of different

methods such as

significant figures

and estimating.

Understanding the relationship between

square roots/cube roots/square

numbers/cube numbers

- Simplifying,

multiplying, dividing

surds

- Exploring fraction

problems with

mixed/improper

numbers

- Compound

interest/depreciation

Exploring real life

standard form

Sine/Cosine Rule

Negative

Fractional

Indicies

Students will

progressiveky be

expected to give in

depth reasoning and

rationale as to why

they have reached

certain conclusions,

with

advanced/confident

mathematicians

being able to give

alternative methods

and stratgeies for

solving a problem.

The levels of

application that

students practice

and develop in Year

7 and Year 8 result

in them using

mathematics more

confidently in every

day life. It is also

vital that our

practicioners deliver

our curriculum In a

Be Confident in the 4 key areas of

Mathematics:

Number (Rounding, Fractions,

Decimals, Percentages, Indicies)

Shape/Measure(Area,perimeter,volume

of shapes)

Algebra (simplifying expressions,

collecting terms, plotting graphs,

expanding, factorising,solving

equations)

Averages and data (Presenting,

Analysing and interpreting data)

Students will be able to take their skills

and apply them to mathematical

problems.

Students will be able to engage in

Mathematical discussions and argue a

Spring

Pythagoras’

theorem

Use of

Pythagroas’

theorem in

Trapeziums

Plotting Straight

line graphs and

understanding

gradient and y

intercept

Angle reasoning

- Introduction to

Trigonometry and its

uses

- Volume of Compound

shapes and

Introduction to

compound measures

such as

Volume/Mass/Density

- Exploring complex

algebra (Quadratics,

factorising)

Quadratic

simualtaneous

equations

Sector Area and

Arc Length

Volume of a

sphere and

surface area of

complex prisms


Summer

Averages from

grouped data

Understanding sequences and the nth term.

Application of score skills to

problem solving

Inequalities; drawing and desciribing

- Direct and Inverse

Proportion

- Discrete and

Continuous Data

- Advanced re-

arranging the formula

Advanced

problem solving

from UKMT

Turning points of

graphs/Functions

of graphs

way that promotes a

thirst for knowledge,

which lead to

students planning to

study maths past

their GCSE

qualification.

Research suggests

that those studies

who have

experienced a

challenging and

enriching KS3 are

more likely to asert

themselves

purposefully at key

stage 4 as well as

consider

Mathematics as an

option t Key Stage

5.

case using algebraic or numerical

proof.

Rationale for

these

specific

components

and

composite

outcomes:

A large majority of year 7

students have arrived from

primary school have been

‘trained’ to suceed in their Key

Stage 2 assessments. Our

year 7 cirriculum relies on

students to retrieve the

challenging content which is

studied during year 6 as well

as encouraging students to

look at reasoning such as

why? And how? They are not

only expected to understand

how to answer a question but

also apply their knowledge and

Year 8 signals the

transition from retrieving

information and a skills

focus to students placing

greater emphasis on their

ability to apply

knowledge and introduce

some core skills which

would be needed at

GCSE level.

The most challenging year

of the Key Stage 3

curriculum, students are

introduced to a large

number of GCSE problem

solving scenarios to

prepare them for the start

of their GCSE course in

year 10. High ability groups

and extension groups will

need to understand and

appreciate the need for

reasoning and mastering


understanding to complex

problems. It is important to

emhasiize that currently, a

large amount of content

delivered in Year 7 is re-visiting

content delivered in year 5/6 to

allow a smooth transition into

secondary school.

Students now are aware

of the challenge and

expectations of the

school and year 8 gives

them an insight into the

hard work required to be

successful in

mathematics.

the ability to combine a

number of mathematical

skills to solve a problem.

The new nature of the

GCSE means that topics

are combined together

which students must

recognise and then apply

their mathematical

reasoning and application.


Students are encouraged each lesson by their teacher to aim to extend

their learning by engaging in discussions about their topic as well as

attempt International maths challenge problems to broaden knowledge

and application. Use of Platforms such as Edmodo give students a

number of options to stretch their learning and also challenge

themselves if Learning Intentions have been achieved.

Students in Mathematics are given aspirational targets on a lesson by

lesson basis with clear signposting referencing GCSE grading, giving

them an indication of their performance compared to that of a year 11

student.


The main purpose of our Key Stage 3 curriculum is to challenge all students and for them to aspire to

maximise their potential in the subject.

From discussion with local orimary schools, the Key Stage 2 cirriculum places a large focus on the

skill element of mathematics and learners are expected to remember and retrieve key facts methods

to answer questions. Our Key Stage 3 cirriuclum takes their core skills and places the emphasis on

application and problem solving. This allows for a deeper understanding of the topic and allows

students to feel confident in applying knowledge in a number of ways.


Subject: Components Composite KS3 Mission Statement




Chesterton history


Autumn

In these boxes you should briefly

list any new content covered at

that time. E.g. ‘Romeo & Juliet’ or

‘Cells’.

In this box, please briefly describe

the types of complex activity

students in your subject area will

seek to complete utilising their

new component knowledge.

These might be practical activities

in science, complex mathematical

problem solving, or extended

essay writing.

What is the point of students

studying your subject at KS3?

How does this link into

Chesterton’s KS3 mission

statement?

Why is what you’ve taught them

so powerful, and how might they

take this with them and use it in

later life?

NB: this is not to be linked to being

KS4 ready, or tied to exam

outcomes in year 11 – why should

all students cover your KS3

curriculum, regardless of what

they go on to do?

Spring

Summer

Rationale for these

specific components

and composite

outcomes:

In these boxes, you should seek to

justify your curriculum choices in a

way that is accessible to someone

else, e.g. why have you opted to

teach topic x over topic y?

In this box, you should seek to

explain why the composite

activities students attempt in your

subject area are appropriate,

challenging and worthwhile.


In this box, please explain how challenge is embedded across your KS3 curriculum.

What does a challenging lesson look like in your subject?


In this box please explain the following:

What has been studied at KS2

How you recap and build on the knowledge/skills learnt in KS2

How are you ensuring you are stretching students beyond what they have learnt in KS2





Chesterton history

student will…


Autumn


Hastings?


England?


Tudors?


1642?














work.

1) Have a sound





today.






3) Possess powerful





world.

Spring


murdered in 1170?


become significant?


of 1688?







Summer


Medieval Baghdad?




controversial?



Empire?


in 1939?


Holocaust?

Rationale for these

specific components

and composite

outcomes:









British values.










































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