VCE Literature Unit 4 Outcome 1 – Assessment and Learning Plan

That Deadman Assessment

Assessment and Learning Plan – VCE Literature

Unit 4 Outcome 1: That Deadman Dance Hannah Hayman

submitted as partial assessment for

EDLA539: English Curriculum, Pedagogy and Assessment 2

Masters of Teaching

Australian Catholic University

November 2016

ASSESSMENT AND LEARNING PLAN

About this Assessment and Learning Plan

This program focuses on the text That Deadman Dance by Kim Scott (2010). Students will use other

literary criticism to create their own critical interpretations of this novel.

This program is designed to prepare students for assessment of Unit 4 Outcome 1 and take

approximately 6 weeks. While sequences average one week in duration, activities are not intended to

all take the same amount of time and sequences can easily be adapted to the needs of a different

class.

Lesson sequencing – including a variety of assessment strategies

Sequence 1 – Introduction

Activity 1 – class trip to the National Gallery of Victoria

Students participate in a class excursion to the National Gallery of Victoria (NGV). Over the course of

approximately one hour, students will collectively discuss and analyse a range of artworks. Through

guided conversation, students will quickly be able to get a sense of how literary criticism (including

their own) “foregrounds particular views and questions texts in particular ways” (Victorian Curriculum

and Assessment Authority, 2014, p. 19) as well as directly contributing to students’ abilities in all Key

Knowledge and Skills. Students will also be able to have a bit of fun in the moment between finishing

Unit 3 and beginning Unit 4, all the while heading inexorably closer to the high-stakes end-of-year

VCE Literature Unit 4 Outcome 1 – Assessment and Learning Plan

exams. The teacher can contribute to this discussion either by guiding it or acting as a positive role

model.

Assessment

Informal diagnostic: teacher takes note of general class mood, morale and comfort with the

subject matter

Formal evaluative: students complete standard excursion feedback form

Activity 2 – Introduction to Unit 4 and Area of Study 1

Outside of class, students:

re-read Scope of study, Rationale and Aims and

read Unit 4 introduction and Area of Study 1 information for VCE Literature (Victorian Curriculum

and Assessment Authority, 2014, pp. 5, 19)

from the above, select a sentence or phrase they are most concerned about (e.g. the key

knowledge or skill they are most concerned about)

write 1-2 sentences from a particular literary perspective (e.g. feminist, postmodernist) analysing

the phrase.

In class, students:

share their analyses (and hence their discomforts)

discuss the unit and area of study.

Students complete a self-assessment of their abilities in the key knowledge and skills and Outcome 1

(see Appendix 1). This can be updated throughout the unit.

Assessment

Informal diagnostic – teacher observation of class discussion, analyses and discomforts

Formal diagnostic – student self-assessments

Activity 3 – initial class discussion of That Deadman Dance (Scott, 2010)

In class, students describe, question and discuss the text using the Making Meaning protocol (see

Appendix 2). This discussion is recorded for later use – for example by placing notes on the class wiki

or creating a poster for the classroom (physical) wall.

Assessment:

Informal formative – students create a combined initial understanding of the text.

VCE Literature Unit 4 Outcome 1 – Assessment and Learning Plan

Sequence 2 – Perspectives, assumptions, ideas

Activity 1 – reviews of common literary perspectives

In class, students review or create a class glossary of literary terms, focusing on entries relating to

common literary perspectives.

Assessment:

Informal formative – teacher can note where students have increased their knowledge since Unit

1

Activity 2 – Critical Evaluation Table – perspectives of That Deadman Dance (activity adapted from

Victorian Curriculum and Assessment Authority, 2015, pp. 21–22)

Outside of class, students:

using the definition of literary criticism provided by the Victorian Curriculum and Assessment

Authority (c2015), read one of two provided examples of literary criticism (Hughes-D’Aeth, 2014;

whisperinggums, 2011) and convince themselves it fulfils the definition.

source two further examples of literary criticism and upload to class learning management system

an annotated bibliography of each.

In class:

“using [some of the more popular] critical reviews about [That Deadman Dance], search for

vocabulary or metalanguage within the literary criticisms that reveal the critics’ perspectives, for

example directed focus on gender, class structure or social mores” (Victorian Curriculum and

Assessment Authority, 2015, p. 21).

place key vocabulary in the class glossary of literary terms, with definitions

review, as a class, new definitions in the class glossary

“in [4-5] groups read and evaluate one [of the analysed critical reviews]; use a grid or table [see

Appendix 3] to guide reading of the critical view” (Victorian Curriculum and Assessment Authority,

2015, p. 21)

as a whole class, “combine the findings into one grid/table” (Victorian Curriculum and Assessment

Authority, 2015, p. 21)

playing ‘Categories’ (Collard, c2016), students position themselves around the room according to

how their personal perspective aligns with critical reviewers

use this to start (individually) completing the “personal perspectives” column of the constructed

table.

VCE Literature Unit 4 Outcome 1 – Assessment and Learning Plan

Assessment

Informal diagnostic – choice of critical reviews gives indication of comfort level of students

Formal formative – annotated bibliographies

Informal formative – students add vocabulary to class glossary

Informal diagnostic – students’ categories of personal perspectives

Informal formative – students compile dots points relating to their own (and others’) critical

perspectives

Sequence 3 – Views and values / contexts / literary devices

Activity 1 – Table of story

In class, teacher introduces a table (Shipp, 2013, p. 27) outlining different understandings of story –

indigenous, Standard Australian English, and others – e.g. based on other texts studied or other

cultural backgrounds in the student population. Students and teacher complete the table (particularly

‘other’ columns) and interrogate how That Deadman Dance fits within (or doesn’t) each definition of

‘story’.

Assessment

Informal formative – during discussion, teacher notes comfort and sophistication of students with

regards to That Deadman Dance’s narrative structure.

Activity 2 – Character diagram (as per Jones, 2015) – Appendix 4

Assessment

Informal formative – students create a collective character diagram, teacher notes comfort and

sophistication of students with regards to characters in the text

Activity 3 – Views and values (adapted from the “Theme” exercise in Jones, 2015)

In class, using the table of literary criticism, students (with facilitation and modelling by teacher)

highlight the common views and values discussed in literary criticism of the text.

Assessment

Informal formative – students create a collective table of common views and values, teacher notes

comfort and sophistication of students with regards to characters in the text

VCE Literature Unit 4 Outcome 1 – Assessment and Learning Plan

Activity 4 – writing to time

In class, students write for five-ten minutes, in response to one of these prompts:

In That Deadman Dance, there are moments of great closeness between the reader and Bobby, and moments where there is a greater distance. Discuss the views and values the text reinforces through this changing distance.

OR

“Locating a ‘present’ is often difficult for the reader” (Jones, 2015). With close reference to the text, discuss how this power the text has over the reader reflects or disrupts the power structures within the text.

Assessment

Informal diagnostic – teacher notes students general level of comfort with writing on this text under

time pressure.

Activity 4 – Modelled and joint construction of a personal perspective on That Deadman Dance (using

the teaching and learning cycle in Derewianka & Jones, 2012; and adapted from Victorian Curriculum

and Assessment Authority, 2015, p. 21)

As a class,

1. Pick a few views and/or values to discuss.

2. Collect within-text examples of how the text articulates its concerns.

3. Identify other critical responses which discuss the same views and/or values.

4. Write a draft response to the text using the above views, values, examples and critical responses.

5. “[E]valuate what assumptions might lie behind the perceptions and opinions” in the draft

response.

a. “[F]or example what did the response endorse, challenge or leave unquestioned?”

(Victorian Curriculum and Assessment Authority, 2015, p. 21)

Assessment

Informal diagnostic – teacher gauges student engagement with views, values, alternate critical

responses and their own personal perspectives.

Sequence 4 – Practicing personal perspectives

Activity 1 – In-class marking of essay

In preparation for the practice and actual SACs, students and teacher investigate the marking rubric

(Victorian Curriculum and Assessment Authority, 2015, p. 27). Using an annotated sample as a

teaching tool, the teacher models how essays are assessed using the marking rubric. The teacher talks

VCE Literature Unit 4 Outcome 1 – Assessment and Learning Plan

students through assessment of the first two paragraphs. As per Derewianka and Jones (2012), the

teacher then invites students to jointly construct an assessment of the next two paragraphs.

Assessment of the remainder should be attempted by the students individually or in small groups. A

final score should be discussed with all, with the teacher ensuring that students are clear about how

the teacher will be marking their essays.

Assessment

Informal diagnostic and formative – teacher uses discussion to understand group level of comfort

with rubric, students learn how to engage with the marking rubric.

Activity 2 – Update self-assessments and writing workshops

Outside of class, students update their self-assessments and teacher reviews.

In class, students, armed with their self-assessments, class critical evaluation table and model marked

essay, can practice aspects of writing text responses. This could include, for example:

planning an essay

writing to time

close text analysis

incorporating other literary perspectives.

Based on the updated self-assessments, teacher ongoing assessment and students’ own preferences,

students can choose what to focus on during in-class writing workshops.

Assessment

Formal diagnostic – students’ self-assessments

Informal diagnostic – how students choose to spend their time and what they focus on

Sequence 5 – Practice SAC

Activity 1 – Practice School-assessed coursework

This is an in-class, open book assessment. Specifically, students are allowed to bring in the text and

the table of comparative evaluations.

Questions are:

The main viewpoint is that of Bobby Wabalanginy, an optimistic soul whose name, unpronounceable to the newcomers, means "all of us playing together". The significance of this is obvious. Bobby, intelligent and eager for experience, is a natural comedian and showman, equally at home in both worlds. Part clown, part shaman, he tells the stories of his people and is a fount of songs and music, a talented dancer who creates the "deadman dance". This ingenious mime based on the stiff movements

VCE Literature Unit 4 Outcome 1 – Assessment and Learning Plan

of the newcomers is at once fond and ironic. Bobby also learns to read and write the white man's language and joins them on their whaling trips. Through Bobby we experience the rhythms of a deeply mystical, animistic hunter-gatherer culture. He speaks of slipping down into the blowhole of a whale and warming himself beside its heart. He "huddled in the eye sockets of a mountainous skull and became part of its vision, was one of its thoughts". The non-linear structure emphasises the numinous quality of Noongar perspective. We go back and forth in time freely. Bobby is a nine-year-old boy when we meet him. Soon after, we encounter him as an old man, performing tricks with boomerangs for tourists.

…

We know the outcome from the start, of course. Bobby, straddling two cultures, clings to his belief in mutual harmony until nothing is left. "We thought making friends was the best thing," he says. "We learned your words and songs and stories, but you didn't want to hear ours."

(Birch, 2012)

AND

Scott has said in interviews about this book and in his afterword to the novel that he wanted to write a novel from the point of view of Aboriginal confidence. He writes that he was “inspired by history”. What!? This is a history of decimation, of cultural annihilation, of losses so profound that we as a nation struggle even to contend with them, let alone deal with them. So how can Scott be inspired by this? In his author’s note to That Deadman Dance, he writes:

I wanted to build a story from [Noongar] confidence, their inclusiveness and sense of play, and their readiness to appropriate new cultural forms - language and songs, guns and boats - as soon as they became available. Believing themselves manifestations of a spirit of place impossible to conquer, they appreciated reciprocity and the nuances of cross-cultural exchange.

This is not misty-eyed idealism. Scott’s novel is not in denial of the brutal realities of the colonial process. In his day-job Scott deals with issues of Aboriginal health. Beyond his writing, but somehow connected to it, he has also undertaken an arduous but heroic attempt to regenerate Noongar speech – the whole thing proceeds by grass-roots meetings. There is no-one who knows better than Kim Scott the profound fracturing of Noongar society in the wake of nearly two centuries of colonisation.

(Hughes-D’Aeth, 2014)

“[D]evelop a written interpretation in response to the perspectives presented in each article and [That Deadman Dance].” (Victorian Curriculum and Assessment Authority, 2015, p. 23)

OR

“[That Deadman Dance] doesn’t give us hope based on platitude, but a mechanism through which to build a better world, a world in which things can survive together.” (Hughes-D’Aeth, 2014)

“I wanted to go and find Bobby and say to him, ‘What can we do together?’ We should all be facing Bobby Wabalanginy, looking at his dance, embracing his offer of friendship, of family. Our bones will all go down to the sea together and mix with the bones of whales

VCE Literature Unit 4 Outcome 1 – Assessment and Learning Plan

and become something else. In the meantime we should face him.” (musingsofaliterarydilettante, 2011)

“In the light of both or either of these views, develop a written interpretation of That Deadman Dance. Make reference to at least two pieces of literary criticism in your response.” (Victorian Curriculum and Assessment Authority, 2015, p. 23)

Assessment

Formal summative – students are assessed on their ability to demonstrate Unit 4, Outcome 1.

Activity 2 – Peer review

Outside of class, students assess their own practice SAC and peer review two others (anonymously)

against the marking rubric. These peer reviews are provided to the teacher who moderates and

provides reviewed essays back to students.

Assessment

Formal formative/diagnostic – students engage with the marking rubric and reflect on their own

efforts. Teacher can compare own feedback and assessment with students’ expectations and

understanding of marking rubric.

Sequence 6 – Better than before

Time to focus on common areas of weakness and differentiate intervention strategies. While the

precise activities used will depend on each class, two examples are provided below.

Activity 1 – analysis of how literary criticism informs interpretations of texts

(Assume all students had difficulty with this)

Outside of class, all students collect three paragraphs of criticism (from the class collection).

During class, the teacher takes one paragraph and (describing their thought process aloud) highlights

in three different colours:

statements they agreed with

statements they disagreed with

new ideas, that the teacher hadn’t decided on yet.

This leads to a discussion on how literary criticism invites us to engage with it. For example, if a piece

of criticism includes ideas about ‘first contact’, other readers will then have to engage with ideas about

first contact.

Students attempt the highlighter exercise themselves and are encouraged to write about how

statements they agree with re-affirm an initial interpretation of a text, how statements they disagree

VCE Literature Unit 4 Outcome 1 – Assessment and Learning Plan

with force them to argue their case but by doing so re-affirm an interpretation, and how new ideas

(provide examples) open up new avenues for interpretation of a text.

Assessment

Informal formative – teacher can gauge level of comfort and progress while students are writing

Activity 2 – close analysis of the text

(Assume five students had difficulty with this.)

Outside of class, each student collects five quotes from the text.

In class, as a small group with the teacher, the students take one or two quotes and systematically

decide if that quote can be used as an example during discussion of central ideas, recurring images,

views and values of That Deadman Dance (as previously identified in the class critical evaluation table).

Students then individually take two of their own quotes and do the same thing. Finally, students take

quotes someone else has brought and repeats the exercise with them. The intent of this activity is for

students to be able to use multiple quotes from the text for various situations.

Assessment

Informal formative – students learn to interrogate small quotes and how these can be exemplars

for larger ideas.

This concludes preparation for the Unit 4 Outcome 1 assessment.

Catering to diverse learner strengths and needs

The multitude of assessments and activities within this Assessment and Learning Plan cater for diverse

learner strengths and needs in a variety of ways, described in the Rationale below.

Learning outcomes / achievement standards

Assessment requirements specific to VCE Literature Unit 4 Outcome 1 can be found at Appendix 5 or

in the Victorian Curriculum and Assessment Authority’s VCE Literature Study Design (2014, pp. 19–21)

Strategies for making consistent and comparable judgements, including marking

guidelines/criteria, and moderation

See Appendix 6 for marking criteria for the Practice and Actual SAC

VCE Literature Unit 4 Outcome 1 – Assessment and Learning Plan

Moderation will be achieved in the following ways:

1. Cross-marking of a sample of essays with colleagues OR

2. Seeking a moderation partner using the Victorian Association for Teachers of English email lists

OR

3. Comparing own students’ essays to VCAA Examiners’ Reports from previous years (see, for

example, Victorian Curriculum and Assessment Authority, 2016)

VCE Literature Unit 4 Outcome 1 – Assessment and Learning Plan

Annotated sample for use as a teaching tool in Sequence 4, Activity 1

VCE Literature Unit 4 Outcome 1 – Assessment and Learning Plan

VCE Literature Unit 4 Outcome 1 – Assessment and Learning Plan

Interpreting data to modify teaching practices

As per discussions above, self-assessment data and teaching data is used to modify teaching practices.

This is particularly evident in Sequences 4 and 6 where opportunities are built in to revise the

Assessment and Learning Plan based on formal and informal assessment data. Discussion of how this

occurs is covered in descriptions of Sequences 4 & 6 and discussion of catering to diverse learner

strengths and needs.

Strategies for providing feedback on assessment

Written feedback on the formal summative assessment is provided, alongside (moderated) peer

reviewer feedback. Written feedback is not provided on other assessments, although verbal feedback

can be given and explicit references to previous work / class discussions will be made throughout, so

that students are aware that their input in to the class knowledge bank has been noticed.

Feedback, when it is given, is provided with several positive comments and a clear, achievable

suggestion for improvement.

RATIONALE

Development of higher-order thinking and the outcomes of the Unit

Bloom’s taxonomy identifies higher-order thinking as processes such as analysing, creating and

evaluating (Armstrong, c2016). Demonstration of VCE Literature Unit 4 Outcome 1 requires students

to engage with and develop higher-order thinking skills such as to “analyse the views and values in

texts”, “evaluate different perspectives of texts” and “[p]roduce an interpretation of a text” (Victorian

Curriculum and Assessment Authority, 2014).

In their analysis of how to teach higher-order thinking skills, Robyn Collins identifies five useful

elements. Examples of how this Assessment and Learning Plan incorporates these are provided below.

1. Through the use of:

self-assessments which scaffold the students to higher-order thinking (Hook, c2011)

discussion and analysis of the Unit’s required key knowledge and skills

peer reviewing others’ work

students are exposed to and taught how to use “the language and concepts of higher-order thinking”.

VCE Literature Unit 4 Outcome 1 – Assessment and Learning Plan

2. “Classroom questioning and discussion time to tap into particular higher-order thinking skills” is

planned for in the excursion to the NGV, discussion of the critical evaluation tables and discussion

around creating character diagrams.

3. “Explicitly teaching subject concepts” is done through modelling of marking an essay using an

annotated sample and discussing concepts of story in Sequence 3.

4. “Providing scaffolding” is done through modelling marking work, building up knowledge by

requiring annotated bibliographies, and categorising common views and values identified in the

text as a class.

5. While I would argue that “consciously teaching to encourage higher-order thinking” is covered by

the above four, it is also present (for example) in the excursion to the NGV, the critical evaluation

tables and the peer reviews.

Differentiation

Classrooms are full of individuals with diverse strengths and needs. Pam Fitzgerald (Fitzgerald, 2016)

identifies three ways of differentiating within the mainstream classroom. Examples of how this

Assessment and Learning Plan provides for differentiation are outlined below.

“Differentiation via context” can be achieved by providing “a range of texts and materials”. While the

main text of study is prescribed, students can choose their own literary criticism. The excursion to the

NGV also provides a way to engage with many texts.

“Differentiation via process”

Starting with an excursion to the NGV allows students who prefer to learn visually and through talking

to build confidence in the subject matter before having to focus on writing tasks.

Including physical games such as Categories and making physical posters allows students who learn

better when they are moving to engage with tasks. Similarly, activities deliberately shift between in-

class and outside-of-class work and individual, small group and whole class tasks. This allows students

to practice in all those modes, assuming that each student will have different strengths and

preferences for how they work.

This Assessment and Learning Plan is provided as a guide, expecting that it will be adapted to each

specific class. If it is adapted, data from initial and updated self-assessments and ongoing teacher

assessment can be used to inform decisions. Self-assessments give teachers rich information on the

diversity of strengths and needs in any class.

VCE Literature Unit 4 Outcome 1 – Assessment and Learning Plan

“Differentiation via product”

While the final summative assessment for Unit 4 Outcome 1 is limited in its format, the essay question

can be presented in several ways (e.g. Victorian Curriculum and Assessment Authority, 2015, p. 23).

This Assessment and Learning Plan reflects this by providing two model questions for the practice SAC.

Further, learning tasks are designed to provide a variety of formats (e.g. posters, individual work,

group work, oral discussion, written expression) to enable students to demonstrate learning in

different ways.

Fitzgerald also reminds that the first step for being able to differentiate well is “to know students”.

This is reflected in the self-assessments at the beginning of the Unit.

Assessment as, of and for learning (as per Department of Education and Training, 2016)

Through student self-assessments, reviewing updated class glossaries and critical evaluation tables,

this Assessment and Learning Plan includes assessment for learning, providing the teacher with data

to inform and revise their teaching.

Through the summative practice SAC, teacher and students can use evidence to judge student

performance against set criteria – assessment of learning.

For assessment as learning, students can monitor their progress through self-assessment as well as

reflecting on joint creation of products, such as the class glossary and critical evaluation table.

Abbreviations

NGV National Gallery of Victoria

SAC School-assessed coursework

VCAA Victorian Curriculum and Assessment Authority

VCE Victorian Certificate of Education

References

Armstrong, P. (c2016). Bloom’s Taxonomy. Retrieved May 15, 2016, from https://cft.vanderbilt.edu/guides-sub-pages/blooms-taxonomy/

Baron, D. (c2011). The Making Meaning Protocol - Adapted for use With a “Text.” Protocol, National School Reform Faculty. Retrieved from http://www.plcwashington.org/Page/80

VCE Literature Unit 4 Outcome 1 – Assessment and Learning Plan

Barry, P. (1993). Beginning theory - An introduction to literary and cultural theory. Manchester and New York: Manchester University Press.

Biggs, J. B. (n.d.). SOLO Taxonomy. Retrieved May 15, 2016, from http://www.johnbiggs.com.au/academic/solo-taxonomy/

Birch, C. (2012, December 8). That Deadman Dance by Kim Scott - review. The Guardian. Retrieved from https://www.theguardian.com/books/2012/dec/07/that-deadman-dance-kim-scott-review

Collard, M. (c2016). The playmeo Categories Group Game Brings People Together. Retrieved November 13, 2016, from https://www.playmeo.com/activities/ice-breakers-get-to-know-you-games/categories/

Department of Education and Training. (2016, May 22). Assessment Advice. Retrieved November 13, 2016, from http://www.education.vic.gov.au:80/school/teachers/support/Pages/advice.aspx

Derewianka, B., & Jones, P. (2012). Teaching Language in Context. South Melbourne: Oxford University Press.

Fitzgerald, P. (2016). Differentiation for all literacy levels in mainstream classrooms. Literacy Learning: The Middle Years, 24(2), 17–25.

Hook, P. (c2011a). Declarative Knowledge Rubric Generator — HookED. Retrieved November 14, 2016, from http://pamhook.com/solo-apps/declarative-knowledge-rubric-generator/

Hook, P. (c2011b). Functioning Knowledge Rubric Generator — HookED. Retrieved November 14, 2016, from http://pamhook.com/solo-apps/functioning-knowledge-rubric-generator/

Hook, P. (c2011). SOLO Taxonomy — HookED. Retrieved November 14, 2016, from http://pamhook.com/solo-taxonomy/

Hughes-D’Aeth, T. (2014, February 19). The case for Kim Scott’s That Deadman Dance. Retrieved November 12, 2016, from http://theconversation.com/the-case-for-kim-scotts-that-deadman-dance-22162

Jones, C. (2015). That Deadman Dance. Retrieved November 13, 2016, from http://readingaustralia.com.au/lesson/that-deadman-dance/

musingsofaliterarydilettante. (2011, April 24). That Deadman Dance by Kim Scott. Retrieved from https://musingsofaliterarydilettante.wordpress.com/2011/04/24/that-deadman-dance-by-kim-scott/

New College of the Humanities. (2013). 10 Minutes On... Julian Barnes’ A History of the World in 10½ Chapters. Retrieved from https://www.youtube.com/watch?v=Agv2veL7sU4

Purcell, M. (2016, August). Literature Study Design 2016. Presented at the EDLA539: English Curriculum, Pedagogy and Assessment 2, St Patrick’s Campus, Australian Catholic University.

Scott, K. (2010). That Deadman Dance (2011th ed.). Sydney, Australia: Picador. Shipp, C. (2013). Bringing Aboriginal and Torres Strait Islander perspectives into the classroom: Why

and how. Literacy Learning: The Middle Years, 21(3), 24–29. Victorian Curriculum and Assessment Authority. (c2015). VCE Literature Units 1 and 2: 2016-2020,

Units 3 and 4: 2017-2020 - Frequently asked questions. Melbourne, VIC. Victorian Curriculum and Assessment Authority. (2014). Victorian Certificate of Education Literature

Study Design - Accreditation Period: Units 1 and 2 2016–2020; Units 3 and 4 2017–2020. Victorian Curriculum and Assessment Authority. Retrieved from http://www.vcaa.vic.edu.au/Pages/vce/studies/literature/literatureindex.aspx

Victorian Curriculum and Assessment Authority. (2015). Victorian Certificate of Education Literature Advice For Teachers. Melbourne, VIC: Victorian Curriculum and Assessment Authority. Retrieved from vcaa.vic.edu.au

Victorian Curriculum and Assessment Authority. (2016). 2015 VCE Literature examination report. whisperinggums. (2011, July 27). Kim Scott, That deadman dance. Retrieved from

https://whisperinggums.com/2011/07/27/kim-scott-that-deadman-dance/

Appendix 1 – Student self-assessment tool Created using Pam Hook’s Functioning Knowledge Rubric Generator (Hook, n.d.-b)and Declarative Knowledge Rubric Generator (Hook, n.d.-a)

Key knowledge and skills

Prestructural

Unistructural Multistructual Relational Extended abstract

(1a) Describe the ways that literary

criticism presents assumptions and ideas

about aspects of culture and society

I need help to describe the ways that literary

criticism presents assumptions and ideas

about aspects of culture and society.

My description of the ways that literary

criticism presents assumptions and ideas

about aspects of culture and society has one

relevant attribute.

My description of the ways that literary criticism

presents assumptions and ideas about aspects of

culture and society has several relevant

attributes.

My description of the ways that literary

criticism presents assumptions and ideas

about aspects of culture and society has

several relevant attributes, and my

description links these attributes.

My description of the ways that literary criticism presents

assumptions and ideas about aspects of culture and society

has several relevant attributes, links these attributes and

my description looks at these attributes in a new way.

(1b) Describe how assumptions and ideas

about aspects of society and culture in

literary criticism inform readings of the

text.

I need help to describe how assumptions and

ideas about aspects of society and culture in

literary criticism inform readings of the text.

My description of how assumptions and

ideas about aspects of society and culture in

literary criticism has one relevant attribute.

My description of how assumptions and ideas

about aspects of society and culture in literary

criticism has several relevant attributes.

and I can give reasons to support it. and I can :

- provide evidence to support it. - evaluate the generalisation about how assumptions

and ideas about aspects of society and culture in literary criticism inform readings of the text .

(2a) Generalise about contexts (cultural,

social, historical and ideological) that may

influence the construction of the text.

I need help to make a generalisation about

contexts (cultural, social, historical and

ideological) that may influence the

construction of the text.

I can make a generalisation about contexts

(cultural, social, historical and ideological)

that may influence the construction of the

text.

I can make a generalisation about contexts

(cultural, social, historical and ideological) that

may influence the construction of the text and

clarify its meaning.

and I can give reasons to support it. and I can :

- provide evidence to support it. - evaluate the generalisation about contexts (cultural,

social, historical and ideological) that may influence the construction of the text.

(2b) Generalise about contexts (cultural,

social, historical and ideological) that may

influence the reading of the text.

I need help to make a generalisation about

contexts (cultural, social, historical and

ideological) that may influence the reading of

the text.

I can make a generalisation about contexts

(cultural, social, historical and ideological)

that may influence the reading of the text.

I can make a generalisation about contexts

(cultural, social, historical and ideological) that

may influence the reading of the text and clarify

its meaning.

and I can give reasons to support it. and I can:

- provide evidence to support it. - evaluate the generalisation about contexts (cultural,

social, historical and ideological) that may influence the reading of the text .

(3a) Generalise about the ways in which

the text may reflect aspects of human

behaviour through characterisation,

imagery, style, point of view and structure.

I need help to make a generalisation about the

ways in which the text may reflect aspects of

human behaviour through characterisation,

imagery, style, point of view and structure.

I can make a generalisation about the ways

in which the text may reflect aspects of

human behaviour through characterisation,

imagery, style, point of view and structure.

I can make a generalisation about the ways in

which the text may reflect aspects of human

behaviour through characterisation, imagery,

style, point of view and structure and clarify its

meaning.

and I can give reasons to support it. and I can:

- provide evidence to support it. - evaluate the generalisation about the ways in which

the text may reflect aspects of human behaviour through characterisation, imagery, style, point of view and structure.

(3b) Generalise about the ways in which

the text may question aspects of human

behaviour through characterisation,

imagery, style, point of view and structure.

I need help to make a generalisation about the

ways in which the text may question aspects

of human behaviour through characterisation,

imagery, style, point of view and structure.

I can make a generalisation about the ways

in which the text may question aspects of

human behaviour through characterisation,

imagery, style, point of view and structure.

I can make a generalisation about the ways in

which the text may question aspects of human

behaviour through characterisation, imagery,

style, point of view and structure and clarify its

meaning.

and I can give reasons to support it. and I can:

- provide evidence to support it. - evaluate the generalisation about the ways in which

the text may question aspects of human behaviour through characterisation, imagery, style, point of view and structure.

(4) Generalise about the ways that

contemporary views and values influence

interpretation.

I need help to make a generalisation about the

ways that contemporary views and values

influence interpretation.

I can make a generalisation about the ways

that contemporary views and values

influence interpretation.

I can make a generalisation about the ways that

contemporary views and values influence

interpretation and clarify its meaning.

and I can give reasons to support it. and I can:

- provide evidence to support it. - evaluate the generalisation about the ways that

contemporary views and values influence interpretation.

(5a) Describe the views and values in texts I need help to describe the views and values in

texts.

My description of the views and values in

texts has one relevant attribute.

My description of the views and values in texts

has several relevant attributes.

My description of the views and values in

texts has several relevant attributes, and my

description links these attributes.

My description of the views and values in texts has several

relevant attributes, links these attributes and my

description looks at these attributes in a new way.

(5b) Analyse the views and values in texts. I can identify the views and values in texts but

I need help to identify the relevant parts.

I can identify the views and values in texts

and one relevant part.

I can identify the views and values in texts and

several relevant parts.

and I can explain what would happen to the

views and values in texts if a part was missing.

and I can:

- generalise about the function/purpose of the parts of the views and values in texts

- evaluate the contribution of the parts to the views and values in texts

Appendix 1 – Student self-assessment tool

Key knowledge and skills

Prestructural

Unistructural Multistructual Relational Extended abstract

(6a) Explain how a literary criticism

foregrounds particular views

I need help to explain how a literary criticism

foregrounds particular views.

I can explain how a literary criticism

foregrounds particular views if I am

prompted or directed.

I use several strategies to explain how a literary

criticism foregrounds particular views but I am

not sure when and or why to use them.

I use several strategies to explain how a

literary criticism foregrounds particular views

and I know when and why to use them.

I use several strategies to explain how a literary criticism

foregrounds particular views and I know when and why to

use them.

I act as a role model for others to help them Explain how a

literary criticism foregrounds particular views.

(6b) Explain how a literary criticism

questions texts in particular ways

I need help to explain how a literary criticism

questions texts in particular ways

I can explain how a literary criticism

questions texts in particular ways if I am

prompted or directed.

I use several strategies to explain how a literary

criticism questions texts in particular ways but I

am not sure when and or why to use them.

I use several strategies to explain how a

literary criticism questions texts in particular

ways and I know when and why to use them.

I use several strategies to explain how a literary criticism

questions texts in particular ways and I know when and

why to use them.

I act as a role model for others to help them explain how a

literary criticism questions texts in particular ways.

(7) Analyse how literary criticism informs

readings of texts.

I can identify how literary criticism informs

readings of texts but I need help to identify

the relevant parts.

I can identify how literary criticism informs

readings of texts and one relevant part.

I can identify the how literary criticism informs

readings of texts and several relevant parts.

and I can explain what would happen to how

literary criticism informs readings of texts if a

part was missing.

and I can:

- generalise about the function/purpose of the parts of how literary criticism informs readings of texts

- evaluate the contribution of the parts to how literary criticism informs readings of texts.

(8a) Compare different perspectives of

texts presented in literary criticism

I can identify the objects/ideas associated with

different perspectives of texts presented in

literary criticism but I need help to compare

them.

I can identify one relevant similarity and

difference between different perspectives of

texts presented in literary criticism.

I can identify several relevant similarities and

differences between different perspectives of

texts presented in literary criticism.

I can identify several relevant similarities and

differences between different perspectives of

texts presented in literary criticism and give

reasons why.

I can identify several relevant similarities and differences

between different perspectives of texts presented in

literary criticism, give reasons why, and look at these

perspectives in a new way.

(8b) Analyse different perspectives of texts

presented in literary criticism.

I can identify the different perspectives of

texts presented in literary criticism but I need

help to identify the relevant parts.

I can identify the different perspectives of

texts presented in literary criticism and one

relevant part.

I can identify the different perspectives of texts

presented in literary criticism and several

relevant parts.

and I can explain what would happen to the

different perspectives of texts presented in

literary criticism if a part was missing.

and I can:

- generalise about the function/purpose of the parts of the different perspectives of texts presented in literary criticism

evaluate the contribution of the parts to the different

perspectives of texts presented in literary criticism.

(8c) Evaluate different perspectives of

texts presented in literary criticism.

I can make a claim about different

perspectives of texts presented in literary

criticism but I need help to give a relevant

reason and objection.

I can make a claim about different

perspectives of texts presented in literary

criticism and give a relevant reason and

objection.

I can make a claim about different perspectives

of texts presented in literary criticism and give

several relevant reasons and objections.

and I can explain why these reasons and

objections are relevant to the claim.

and I can :

provide evidence.

judge the overall support for the reasons and objections.

make an overall evaluation of the claim.

Outcome 1

Produce an interpretation of a text using

different literary perspectives to inform

my view.

I need help to produce an interpretation of a

text using different literary perspectives to

inform my view.

I can produce an interpretation of a text

using different literary perspectives to

inform my view if I am prompted or directed.

I use several strategies to produce an

interpretation of a text using different literary

perspectives to inform my view but I am not sure

when and or why to use them.

I use several strategies to produce an

interpretation of a text using different literary

perspectives to inform my view and I know

when and why to use them.

I use several strategies to produce an interpretation of a

text using different literary perspectives to inform my view

and I know when and why to use them.

I act as a role model for others to help them produce an

interpretation of a text using different literary perspectives

to inform my view.

VCE Literature Unit 4 Outcome 1 – Assessment and Learning Plan

Appendix 2 – Making Meaning Protocol

(adapted from Baron, c2011)

1. Getting Started

• Participants read the text.

2. Describing the Text

• The facilitator invites the group to “Describe the

text”

• Group members provide answers without making

judgments about the quality of the text or their

personal preferences.

• If an interpretation or judgment emerges, the

facilitator asks for the evidence on which it is based.

3. Asking Questions About the Text

• The facilitator asks the group, “What questions are

raised in your descriptions?”

• Group members state any questions they have

about the text.

• The facilitator takes notes.

4. Speculating about the Meaning/Significance of the

Text

• The facilitator asks the group, “What is significant

about this text?”

• Participants, based on their reading of the text,

construct meaning about the insights, problems or

issues that the text seems focused on.

VCE Literature Unit 4 Outcome 1 – Assessment and Learning Plan

Appendix 3 – Critical Evaluation Table

(adapted from Victorian Curriculum and Assessment Authority, 2015, p. 22)

A CRITICAL EVALUATION OF PERSPECTIVE OF A TEXT

1. The teacher compiles a range of critical perspectives on the text for class distribution. (These extracts may be sourced from published articles or teacher prepared.)

2. In small groups read and evaluate one perspective. Each group can respond to the grid/table below to guide reading of the critical review.

3. Present the evaluations on the grid/table to a second representative group. Combine the evaluations into a single grid or table. Discuss how this range of perspectives might influence their construction of a personal perspective on the text.

4. Expand the grid/table according to how many critiques are presented. Make these responses available for distribution to everyone in the class.

The grid below is a useful model for the features students might identify from the critical articles.

Criteria that can be considered by literary criticism of a text

Literary criticism 1 Literary criticism 2 Personal perspective on the text

Author’s life and times

Central ideas

Recurring images

Connections made with other texts

Characters

Setting

Plot

Structure

Language choices

Assumptions and ideas about the text’s views and values

Challenges raised by literary criticism

Endorsements made by literary criticism

Overall perspective of text

VCE Literature Unit 4 Outcome 1 – Assessment and Learning Plan

Appendix 4

Character –(from Jones, 2015) Character Diagram

This is a story of an emerging community and there are many characters who weave in and out of the narrative. Students should create a symbolic diagram/map of the colony and, using the list of characters below, place them in particular camps (literally – Indigenous, Whaler, Settler, Sealer, Barracks, etc.), or move between these camps, or to another space (a spiritual presence or away from the settlement). This would be a useful resource for students to create and refer to throughout their study. Important characters to include are:

Bobby Menak Manit Wunyeran

Wooral Binyan Dr Cross

Geordie ‘Kongk’ Chaine Mrs Chaine

Christine Christopher Killam

Skelly Governor Spender Mrs Spender Hugh

Jak Tar Jeffrey James

Students could use their smartphone or another digital tool to record the changes to the diagram/map as the narrative develops, or record the movements/routes of particular characters around this coastal site.

VCE Literature Unit 4 Outcome 1 – Assessment and Learning Plan

Appendix 5

(Victorian Curriculum and Assessment Authority, c2015)

Outcome 1 On completion of this unit students should be able to produce an interpretation of a text

using different literary perspectives to inform their view. To achieve this outcome the student will

draw on key knowledge and key skills outlined in Area of Study 1.

Key knowledge

the ways that literary criticism presents assumptions and ideas about aspects of culture and

society and how these inform readings of the text

contexts (cultural, social, historical and ideological) that may influence the construction and

reading of the text

the ways in which the text may reflect or question aspects of human behaviour through

characterisation, imagery, style, point of view and structure

the ways that contemporary views and values influence interpretations.

Key skills

identify and analyse the views and values in texts

explain how a literary criticism foregrounds particular views and questions texts in particular ways

analyse how literary criticism informs readings of texts

compare, analyse and evaluate different perspectives of texts presented in literary criticism.

Outcomes Marks allocated* Assessment tasks

Outcome 1 Produce an interpretation of a text using different literary perspectives to inform their view.

50

A written interpretation of a text using two different perspectives to inform their response.

For the achievement of Outcome 1: the suggested length of written responses is approximately

800–1200 words.

VCE Literature Unit 4 Outcome 1 – Assessment and Learning Plan

Appendix 6

LITERATURE SCHOOL-ASSESSED COURSEWORK

Performance Descriptors

Unit 4 Outcome 1

Produce an interpretation of a text using different literary perspectives to inform their view.

DESCRIPTOR: typical performance in each range

Very low Low Medium High Very high

Limited understanding, comparison, analysis and evaluation of perspectives presented in literary criticism.

Some understanding, comparison, analysis and evaluation of perspectives presented in literary criticism.

Appropriate understanding, comparison, analysis and evaluation of perspectives presented in literary criticism.

Detailed understanding, comparison, analysis and evaluation of perspectives presented in literary criticism.

Comprehensive understanding, comparison, analysis and evaluation of perspectives presented in literary criticism.

Limited identification and analysis of the views and values in the text with limited understanding of how literary criticism foregrounds particular views and questions texts in particular ways.

Some identification and analysis of the views and values in the text supported by some explanation of how literary criticism foregrounds particular views and questions texts in particular ways.

Sound identification and analysis of the views and values in the text supported by a clear explanation of how literary criticism foregrounds particular views and questions texts in particular ways.

Detailed identification and analysis of the views and values in the text supported by a developed explanation of how literary criticism foregrounds particular views and questions texts in particular ways.

Insightful identification and analysis of the views and values in the text supported by a sophisticated explanation of how literary criticism foregrounds particular views and questions texts in particular ways.

Limited development of an interpretation with limited references to the text and literary criticism. Limited understanding of how literary criticism informs interpretations of texts.

Some development of an interpretation with some references to the text and literary criticism. Some analysis of how literary criticism informs interpretations of texts.

Appropriate interpretation developed through suitable selection and use of some detail from the text and literary criticism. Clear analysis of how literary criticism informs interpretations of texts.

Thoughtful interpretation developed through careful selection and use of detail from the text and literary criticism. Thoughtful analysis of how literary criticism informs interpretations of texts.

Insightful interpretation developed through considered selection and use of significant detail from the text and literary criticism. Sophisticated analysis of how literary criticism informs interpretations of texts.

Basic expression of ideas in written and/or oral form.

Mostly clear expression of ideas in written and/or oral form.

Generally clear, fluent and coherent development of ideas in written and/or oral form.

Expressive, fluent and coherent development of ideas in written and/or oral form.

Highly expressive, fluent and coherent development of ideas in written and/or oral form.

KEY to marking scale based on the Outcome contributing 50 marks

Very low 1–14 Low 15–24 Medium 25–34 High 35–44 Very high 45–50