Conceptual Framework in English

2. Conceptual Framework in English Functional Literacy for All Listening Speaking Reading Writing Viewing Communi- cative Competence Literary Competence/ Appreciation Valuing CBI Context Based CALLA Text Based PTCBL Genre Based • Theory of Learning • Constructivism Learning by doing (D) Reflective learning (P) Social learning Learning strategies Transformative Learning Theory of Language Linguistics Philosophy Psychology Theory of Language Learning Process - Oriented Condition - Oriented

3. The overall goal of the 2010 Secondary Education Program is to develop a functionally literate Filipino who can effectively function in various communication situations. • A functionally literate individual demonstrates the following critical competencies: • to express clearly one’s ideas and feelings orally, in writing, and non-verbally; • the ability to learn on his own; the ability to read, comprehend and respond in turn to ideas presented; • the ability to write clearly ones ideas and feelings and the ability to access, process, and utilize available basic and multimedia information. • These competencies comprised the expected outcomes of 2010 Secondary English Curriculum.

4. As indicated in the schematic diagram, the two-fold goal of this Program is to develop the communicative and the literary competence/appreciation of the Filipino youth. • The purpose is to develop the four competencies: linguistic, sociolinguistic, discourse and strategic with emphasis on cognitive academic language proficiency (CALP). • On the other hand, literary competence is concerned with general skills needed to meet the communicative and linguistic demands of the different types of literature. • Values underscore the significant insights and universal truths presented in the varied literary texts.

5. In addition to the macro-language skills of listening, speaking, reading and writing the model highlights the paramount importance of viewing of multimedia and Internet sources of information as the means to develop creativity in transcoding concepts from one medium to another. • The said language skills do not occur as separate units but rather as integrated units.

6. In the 2010 Secondary Education English Curriculum (2010 SEC), other inputs have been considered in response to the paradigm shifts that have taken place. • These additional inputs mark the difference between the 2010 SEC and what preceded it. • The model shows that as far as communicative competence is concerned, the learning program in the curriculum focuses on content–based instruction (CBI) which integrates the learning of language and the learning of some other content such as Science and Mathematics where English is used as the medium of instruction. • The model, likewise underscores the use of cognitive academic language learning approach (CALLA) which takes into consideration the various contexts in which language is used in the classroom and other academic settings.

7. In addition, the model uses the problem-based, task-based, and competency-based learning (PTCBL) approaches in which students collaboratively solve problems and reflect on their experiences. • The teachers take on the role as facilitators of learning. • The use of text analysis, text-based, context–based and genre-based approaches to reading literature and literary appreciation ensures literary competence and appreciation.

8. The underlying theoretical bases of the 2010 SEC include the theory of language, theory of learning and theory of language learning. • The theories of language and language learning are in keeping with the current pedagogical practice highlighting constructivism.

9. General Standard First Year General Standard Second Year General Standard Third Year General Standard Fourth Year General Standard Fourth Year General Standard Second Year General Standard Third Year General Standard First Year The learner demonstrates literary and communicative competence through his/her understanding of the different genres of Philippine Literature and other text types for a deeper appreciation of Philippine culture. The learner demonstrates literary and communicative competence through his/her understanding of the different genres of Afro-Asian Literature (including Philippine Literature) and other text types for a deeper appreciation of Philippine culture and those of other countries. The learner demonstrates literary and communicative competence through his/her understanding of the different genres of British-American and Philippine Literature and other text types for a deeper appreciation of Philippine culture and those of other countries. The learner demonstrates literary and communicative competence through his/her understanding of the different genres of World Literature (including Philippine Literature) and other text types for a deeper appreciation of Philippine culture and those of other countries. The learner demonstrates literary and communicative competence through his/her understanding of the different genres of World Literature (including Philippine Literature) and other text types for a deeper appreciation of Philippine culture and those of other countries. The learner demonstrates literary and communicative competence through his/her understanding of the different genres of British-American and Philippine Literature and other text types for a deeper appreciation of Philippine culture and those of other countries. The learner demonstrates literary and communicative competence through his/her understanding of the different genres of Afro-Asian Literature (including Philippine Literature) and other text types for a deeper appreciation of Philippine culture and those of other countries. The learner demonstrates literary and communicative competence through his/her understanding of the different genres of Philippine Literature and other text types for a deeper appreciation of Philippine culture. 2010 Secondary Education Curriculum Curriculum Document in English Program Standard: The learner demonstrates literary and communicative competence through his/her understanding of the different genres of literature and other text types for a deeper appreciation of Philippine culture and those of other countries.

10. Quarter 1 - NARRATIVE

11. Stage 1: Results/Outcomes Standard Essential Content Performance Understanding Question Narratives are the interesting accounts of people’s ideas, feelings, and values pertinent to the development of their culture and society. Why do we study narratives? The learner tells a story creatively and proficiently. The learner demonstrates understanding of the distinctive features, aesthetic elements and underlying objectives of varied types of Philippine narratives using the most appropriate language forms and functions. Understanding Performance Content Question The learner tells a story creatively and proficiently. Why do we study narratives? Narratives are the interesting accounts of people’s ideas, feelings, and values pertinent to the development of their culture and society. The learner demonstrates understanding of the distinctive features, aesthetic elements and underlying objectives of varied types of Philippine narratives using the most appropriate language forms and functions. 2010 Secondary Education Curriculum English I Quarter 1 - NARRATIVE

12. Understanding Performance • Explanation • Explain the development of events and progress of ideas in a story. • Criteria: • Accuracy • Coherence • Use of appropriate language forms and functions: • Simple past Tense • Time markers • WH Questions • S-V Agreement • Direct Discourse • Reported Speech • Performance assessment of storytelling based on the following criteria: • Focus / Theme • Accuracy • Audience Contact • Sequence / Development of action • Dialogue • Language • Delivery • Voice Stage 2 : Assessment Product/ Performance At the level of Understanding Performance Creative Storytelling • Explanation • Explain the development of events and progress of ideas in a story. • Criteria: • Accuracy • Coherence • Use of appropriate language forms and functions: • Simple past Tense • Time markers • WH Questions • S-V Agreement • Direct Discourse • Reported Speech • Performance assessment of storytelling based on the following criteria: • Focus / Theme • Accuracy • Audience Contact • Sequence / Development of action • Dialogue • Language • Delivery • Voice

13. Stage 2 : Assessment Product/ Performance At the level of Understanding Performance Creative Storytelling • Interpretation • Share a story showing one’s understanding and appreciation of an effective and meaningful literary piece • Criteria: • significance • with insights • with emotional response • Interpretation • Gather, analyze and present folk narratives with ease • Criteria: • significance • with insights • with meaning

14. Stage 2 : Assessment Product/ Performance At the level of Understanding Performance Creative Storytelling • Application • Use appropriate sources of information, multimedia and technology to create a story • Criteria: • adaptation • variation • receptivity • Perspective • Analyze interdependence of plot characters, theme and other narrative elements • Criteria: • critical in an analytical sense • with Insights • with usefulness

15. Stage 2 : Assessment Product/ Performance At the level of Understanding Performance Creative Storytelling • Empathy • Relate ideas discovered from the narrative to real life experiences • Criteria: • with insights • openness • Self- knowledge • Self asses one’s strengths and weaknesses in telling a story effectively • Criteria: • meta- cognition • reflection • self-adjustment

16. Stage 3 : Learning Plan Suggested instructional Activities Resources • Reading-Speaking • Abstracting the distinctive features, elements and objectives of sample folk narratives (Interpretation) • Language Focus: • Simple past tense • Time Markers • WH Questions • Reading-Writing • Gathering and presenting (explaining) sample folk narratives from different (Explanation) • Required: • - Wedding Dance, by Amador Daguio • - How My Brother Leon Brought Home a Wife, by Manuel E. Arguilla • - The Monkey and the Turtle, by Jose P. Rizal • Suggested: • My Brother’s Peculiar Chicken, by Alejandro R. Roces Suggested instructional Activities Resources • Reading-Speaking • Abstracting the distinctive features, elements and objectives of sample folk narratives (Interpretation) • Language Focus: • Simple past tense • Time Markers • WH Questions • Reading-Writing • Gathering and presenting (explaining) sample folk narratives from different (Explanation) • Required: • - Wedding Dance, by Amador Daguio • - How My Brother Leon Brought Home a Wife, by Manuel E. Arguilla • - The Monkey and the Turtle, by Jose P. Rizal • Suggested: • My Brother’s Peculiar Chicken, by Alejandro R. Roces

17. Stage 3 : Learning Plan Suggested Instructional Activities Resources • Language Focus: • S-V Agreement • Reading-Writing • Classifying samples of folk narrative (Interpretation) • Reading-Speaking • Focusing in the structure, features and elements of short story (Explanation) • Language Focus: • S-V Agreement Philippine Folk Narrative - The Creation, An Igorot Folktale - Malakas and Maganda, a creation myth - Sampaguita, a legend - The Dog and the Lion, a Maranaw Fable - In Disguise, an anecdote by Benjamin L. Panlilio Suggested Instructional Activities • Language Focus: • S-V Agreement • Reading-Writing • Classifying samples of folk narrative (Interpretation) • Reading-Speaking • Focusing in the structure, features and elements of short story (Explanation) • Language Focus: • S-V Agreement Resources Philippine Folk Narrative - The Creation, An Igorot Folktale - Malakas and Maganda, a creation myth - Sampaguita, a legend - The Dog and the Lion, a Maranaw Fable - In Disguise, an anecdote by Benjamin L. Panlilio

18. Stage 3 : Learning Plan Suggested instructional Activities Resources • Reading-Speaking • Drawing insights on the importance of using literary/ narrative devices (Interpretation) • Language Focus: • Direct Discourse • Speaking • Illustrating important points for effective storytelling (Interpretation) • Speaking- Listening-Viewing • Playing a significant active role in a creative storytelling (Application) • Language Focus: • Reported Speech • Reference books • Internet • Computer • Multimedia Materials • DVD • CD • Graphic • Organizer • pictures • drawings • art materials Suggested instructional Activities • Reading-Speaking • Drawing insights on the importance of using literary/ narrative devices (Interpretation) • Language Focus: • Direct Discourse • Speaking • Illustrating important points for effective storytelling (Interpretation) • Speaking- Listening-Viewing • Playing a significant active role in a creative storytelling (Application) • Language Focus: • Reported Speech Resources • Reference books • Internet • Computer • Multimedia Materials • DVD • CD • Graphic • Organizer • pictures • drawings • art materials

19. Quarter 2 - DRAMA

20. Question Understanding Performance Content Drama clearly portrays the real world by presenting man’s significant experiences in grand, moving and colorful ways. Philippine drama deepens one’s understanding of the unique beauty of Filipino culture. The learner performs interpretatively and communicatively in an excerpt of a play or drama. • The learner demonstrates understanding of features, elements and conventions of varied Philippine drama using appropriate language forms and functions. • Language Focus: • Types of sentence according to function • Coordinators • Rejoinders How does drama mirror real life? Why should you study Philippine drama? Quarter 2 - DRAMA Stage 1: Results/Outcomes Standard Essential Content Performance Understanding Question • The learner demonstrates understanding of features, elements and conventions of varied Philippine drama using appropriate language forms and functions. • Language Focus: • Types of sentence according to function • Coordinators • Rejoinders The learner performs interpretatively and communicatively in an excerpt of a play or drama. Drama clearly portrays the real world by presenting man’s significant experiences in grand, moving and colorful ways. Philippine drama deepens one’s understanding of the unique beauty of Filipino culture. How does drama mirror real life? Why should you study Philippine drama?

21. Performance • Performance assessment of a drama presentation based on the following criteria: • Voice • Acting skills • Facial expression • Stage presence • Stage production • Conventions Understanding • Explanation • Explain the features, elements and conventions of the different types of drama • Criteria: • accuracy • justification • credibility • use of appropriate language forms and functions • Types of sentence according to function • Interpretation • Illustrate the series of connected events in a drama (plot) • Criteria: • clear illustration of connections • significance • with meaning • Application • Role –play the dialogs between characters • Criteria: • fluency • reality • innovation Stage 2 : Assessment Product/ Performance At the level of Understanding Performance Drama presentation (excerpt) • Explanation • Explain the features, elements and conventions of the different types of drama • Criteria: • accuracy • justification • credibility • use of appropriate language forms and functions • Types of sentence according to function • Interpretation • Illustrate the series of connected events in a drama (plot) • Criteria: • clear illustration of connections • significance • with meaning • Application • Role –play the dialogs between characters • Criteria: • fluency • reality • innovation • Performance assessment of a drama presentation based on the following criteria: • Voice • Acting skills • Facial expression • Stage presence • Stage production • Conventions

22. Understanding Understanding • Perspective • Compare and contrast drama (literary) from news story (real life drama). • Criteria: • credibility • responsiveness • with insights • worth mentioning • Empathy • Assume role in a drama that runs counter to your personal experience. • Criteria: • openness • with insights • with point of view • with ease of access • Self-knowledge • Self assess one’s strengths and weaknesses in presenting significant experiences in a drama • Criteria: • self-awareness • self-adjustment • with deep feeling • with maturity • Responsiveness Stage 2 : Assessment Product/ Performance At the level of Understanding Performance • Perspective • Compare and contrast drama (literary) from news story (real life drama). • Criteria: • credibility • responsiveness • with insights • worth mentioning • Empathy • Assume role in a drama that runs counter to your personal experience. • Criteria: • openness • with insights • with point of view • with ease of access • Self-knowledge • Self assess one’s strengths and weaknesses in presenting significant experiences in a drama • Criteria: • self-awareness • self-adjustment • with deep feeling • with maturity • Responsiveness Drama presentation (excerpt)

23. Suggested Instructional Activities • Speaking/Listening • Describing-justifying how drama differs from narrative (Explanation) • Language Focus: • Types of sentence according to function • Reading-Viewing • Creating a classification web identifying the recurrent categories of drama (e.g. characters, events (plot), setting and their attributes (Application) • Reading-Speaking • Analyzing/contrasting drama (literary) and news story (drama in real life) (Explanation) • Language Focus: • Coordinators • Rejoinders • Viewing-Speaking • Reenacting the news story using the imaginative scripts to refine scripts so that story and meaning are conveyed to an audience (Application) • Reading/Speaking • Analyzing description, dialogs and actions to discover, articulate, and justify character motives (Explanation) • Viewing –Speaking • Presenting a play (either on stage, radio, TV, pantomime, puppet show, monologue) (Application) Resources • Required: • - The World is an Apple, by Alberto Florentino • - Laarni- a Dream, by Loreto Paras - Sulit • - The Adarna Bird • Suggested: • -Shadow on Solitude, by Claro M. Recto translated by Nick Joaquin • Internet • Computer • Multimedia Materials • DVD • CD • Graphic Organizer • Pictures • Drawings art materials Stage 3 : Learning Plan Suggested Instructional Activities Resources • Speaking/Listening • Describing-justifying how drama differs from narrative (Explanation) • Language Focus: • Types of sentence according to function • Reading-Viewing • Creating a classification web identifying the recurrent categories of drama (e.g. characters, events (plot), setting and their attributes (Application) • Reading-Speaking • Analyzing/contrasting drama (literary) and news story (drama in real life) (Explanation) • Language Focus: • Coordinators • Rejoinders • Viewing-Speaking • Reenacting the news story using the imaginative scripts to refine scripts so that story and meaning are conveyed to an audience • (Application) • Reading/Speaking • Analyzing description, dialogs and actions to discover, articulate, and justify character motives (Explanation) • Viewing –Speaking • Presenting a play (either on stage, radio, TV, pantomime, puppet show, monologue) (Application) • Required: • - The World is an Apple, by Alberto Florentino • - Laarni- a Dream, by Loreto Paras - Sulit • - The Adarna Bird • Suggested: • -Shadow on Solitude, by Claro M. Recto translated by Nick Joaquin • Internet • Computer • Multimedia Materials • DVD • CD • Graphic Organizer • Pictures • Drawings art materials

24. Quarter 3 - POETRY

25. Question Content How do forms of poetry provide the learner with succinct ideas about the richness and beauty of poetry? • The learner demonstrates understanding of the distinct features of narrative, lyric and dramatic poetry, their elements and the poetic devices using the appropriate language forms and functions. • Language Focus: • Basal Adjectives • Phrase Modifiers • S-V Agreement Performance Understanding Understanding the special qualities of each form of poetry provides the learner with succinct ideas about the richness and beauty of poetry. The learner performs interpretatively and communicatively in a choral reading. Stage 1: Results/Outcomes Standard Essential Content Performance Understanding Question • The learner demonstrates understanding of the distinct features of narrative, lyric and dramatic poetry, their elements and the poetic devices using the appropriate language forms and functions. • Language Focus: • Basal Adjectives • Phrase Modifiers • S-V Agreement The learner performs interpretatively and communicatively in a choral reading. Understanding the special qualities of each form of poetry provides the learner with succinct ideas about the richness and beauty of poetry. How do forms of poetry provide the learner with succinct ideas about the richness and beauty of poetry?

26. Stage 2 : Assessment Product/ Performance At the level of Understanding Performance Choral Reading • Explanation • Describe the distinct features and the development of ancient Filipino poetry • Criteria: • Accuracy • Credibility • With Insights • Use of appropriate language forms and functions • Basal Adjectives • Phrase Modifiers • S-V Agreement • Explanation • Prove close connection among the elements of a poem • Criteria: • accuracy • justification • awareness • The learner performs an interpretation of a poem through choral reading based on the following criteria: • Rubric • Facial Expression • Phrasing/ • blending/ • pausing/ timing • Rate • Enunciation • Accuracy • Voice quality

27. Stage 2 : Assessment Product/ Performance At the level of Understanding Performance Choral Reading • Interpretation • Judge the importance of poetic devices to communicate meaning • Criteria: • significance • worth mentioning • with deep feeling • Perspective • Analyze qualities of each form/type of poetry • Criteria: • Critical in an analytical sense • With awareness • Application • Use effective strategies in choral reading of a poem • Criteria: • Adaptation • With value • Innovation • Variation • Interpretation • Judge the importance of poetic devices to communicate meaning • Criteria: • significance • worth mentioning • with deep feeling • Perspective • Analyze qualities of each form/type of poetry • Criteria: • Critical in an analytical sense • With awareness • Application • Use effective strategies in choral reading of a poem • Criteria: • Adaptation • With value • Innovation • Variation

28. Stage 2 : Assessment Product/Performance At the level of Understanding Performance Choral Reading • Empathy • Reach a common understanding on how to present a choral reading effectively • Criteria: • Openness • Perception • With responsiveness • Self-knowledge • Reflect on the effective strategies to be utilized in making meaning through choral reading • Criteria: • Reflection • Meta cognition • Self-adjustment

29. Suggested Instructional Activities • Reading-Speaking Gathering of facts on the distinct features and the development of ancient Filipino poetry (Explanation) • Language Focus: • Basal Adjectives • Reading-Speaking Justifying close connection among the elements of a poem(Explanation) • Language Focus: • Phrase Modifiers • Reading-Writing Analyzing qualities of each form/type of poetry (Perspective) • Language Focus: • S-V Agreement • Reading-Speaking Drawing insights on the essence of poetic devices used by the author (Interpretation) • Language Focus: • S-V Agreement • Speaking-Listening-Viewing Proposing strategies to be utilized in choral reading of a poem (Application) • Language Focus: • S-V Agreement Stage 3 : Learning Plan Suggested Instructional Activities Resources • Reading-Speaking • Gathering of facts on the distinct features and the development of ancient Filipino poetry (Explanation) • Language Focus: • Basal Adjectives • Reading-Speaking • Justifying close connection among the elements of a poem (Explanation) • Language Focus: • Phrase Modifiers • Reading-Writing • Analyzing qualities of each form/type of poetry (Perspective) • Language Focus: • S-V Agreement • Reading-Speaking • Drawing insights on the essence of poetic devices used by the author (Interpretation) • Language Focus: • S-V Agreement • Speaking-Listening-Viewing • Proposing strategies to be utilized in choral reading of a poem (Application) • Language Focus: • S-V Agreement • Required: • - Ballad of a Mother’s Heart, by Jose la Villa Tierra • - Song, by N.V.M. Gonzales • - Maria Clara’s Song by Dr. JoseP. Rizal • Suggested: • - A Sigh in the Dark, by Angela Manalang Gloria • - Man Upon the Cross, by Conrado V. Perdrocha • - Quietness, by Amador T. Daguio • - To my Native Land, by Tarrosa Subido • - The Sea, by Natividad Marquez • Reference books • Pictures • Sample sayings/ riddles • VCD/DVD • rubrics Resources • Required: • - Ballad of a Mother’s Heart, by Jose la Villa Tierra • - Song, by N.V.M. Gonzales • - Maria Clara’s Song by Dr. JoseP. Rizal • Suggested: - A Sigh in the Dark, by Angela Manalang Gloria - Man Upon the Cross, by Conrado V. Perdrocha • - Quietness, by Amador T. Daguio • - To my Native Land, byTarrosa Subido • - The Sea, by Natividad Marquez • Reference books • Pictures • Sample sayings/ riddles • VCD/DVD • rubrics

30. Quarter 4 - Essay

31. Quarter 4 - Essay

32. Stage 2 : Assessment Product/ Performance At the level of Understanding Performance Writing personal/ reflective essay • Explanation • Explain the basic parts, structure, elements and features of Philippine essays. • Criteria • Accuracy • Credibility • Coherence • Imminent • Use of the appropriate forms and functions: • Modals • Relative • Clauses • Transition markers • The learner writes a personal /reflective essay that expresses meaningful views and insights based on the following criteria: • Focus/ideas • Structure • Voice • Organization • Tone • Style • Language • Mechanics

33. Stage 2 : Assessment Product/ Performance At the level of Understanding Performance Writing personal/ reflective essay • Interpretation Illustrate the different patterns of paragraph development of an essay • Criteria • Accuracy • Organization • Significance • Application Use personal reflections, experiences and observations in writing a personal essay. • Criteria • With value • Adaptation • Reality • Use modals, relative clauses and transition markers in writing personal essay. • Criteria • With value • Fluency

34. Stage 2 : Assessment Product/ Performance At the level of Understanding Performance Writing personal/ reflective essay • Perspective Argue that writing reflective journals and personal essay serve as significant learning experiences. • Criteria • With responsiveness • Reality • Empathy Consider other writers’ intention, style, views in abstracting a reflective journal and a personal essay. • Criteria • Openness • Perception • With deep feeling • Self Knowledge • Use self-monitoring strategy / correction to improve one’s work. • Criteria • Reflection • Meta cognition • Self-adjustment

35. Stage 3 : Learning Plan Suggested Instructional Activities Resources • Reading – Speaking • Exploring the basic parts, structure and features of Philippine essays (Explanation) • Reading – Writing • Proving elements of essays that prompt personal reflection (Explanation) • Language Focus: • Modals • Reading –Speaking Drawing insights on the different patterns ofparagraph development (Interpretation) • Speaking-Listening • Reflecting on others’ views, comments and personal preferences (Empathy) Required: - My Home, by Dr. Jose P. Rizal - Tarlac Dike, by Kerima Polotan - A Letter to His Parents, by Dr. Jose P. Rizal Suggested: - I Am A Filipino, by Carlos P. Romulo -On Discovering Myself, by J.B. Serrano and M.G. Lapid - Siesta, by Leopoldo R. Serrano- Biographies of national writers and heroes - An AVP about the national writers (CONSTEC: Lit.) -A Critic of an essay -Man in Dapitan, by Loreto Para-Sulit -The World in A Train by Francisco Icasiano

36. Stage 3 : Learning Plan Suggested Instructional Activities Resources • Reading – Writing • Using relative clauses to show relationship of ideas (Application) • Language Focus: • Relative Clauses • Reading – Writing • Responding critically to the author’s style, tone and purpose in a personal essay (Empathy) • Reading – Speaking –Writing • Organizing details to meet specific purpose of personal essay (Application) • -Selected contemporary foreign essays with similar theme for learners aged 11-13 • -Movie clips of journal writing from Freedom Writers • Pictures • Concept maps • Model Journal entries • List on Journal • starters

37. Stage 3 : Learning Plan Suggested Instructional Activities Resources • Reading – Writing • Using transition markers to show smooth flow of ideas in a personal essay (Application) • Writing • Writing reflections that highlight comments and insights on personal preferences, observations and experiences (Application) • Language Focus: • Transition markers • Reading – Writing • Using transition markers to show smooth flow of ideas in a personal essay (Application) • Reading –Writing • Analyzing one’s writing by determining how its tone, style suits one’s purpose and the intended audience (Perspective)

38. 2010 Secondary Education Curriculum Curriculum Document in English PERFORMANCE MATRIX

39. 2010 Secondary Education Curriculum Curriculum Document in English CONCEPT MATRIX

40. Summary: Points to Remember

41. Understanding by Design • Helps us to design instruction that promotes understanding and student engagements; • Is a recursive process, not a perspective program or instructional model; • Looks at instructional design from a “results” orientation; • Provides design standards; • Targets achievement through a “backward design” process that focuses on assessment first and relevant instructional activities last;

42. Summary: Points to Remember Understanding by Design • Challenging professional work that requires self-assessment and reflection concerning classroon practice; • Is not opposed to content standards or traditional testing and grading; • Expects us to establish spirals of learning where students use and reconsider ideas and skill – vs. A linear scope and sequence; • Requires thoughtful reflection upon the use and warrant of knowledge; • Asks ‘us to think of curriculum in terms of desired “performances of understanding” and then “plan backwards’ to identify needed concepts and skills.

43. INDICATORS OF TEACHING FOR UNDERSTANDING • What does “teaching for understanding” look like? • What would we expect to see in an Understanding by Design classroom?

44. INDICATORS OF TEACHING FOR UNDERSTANDING by Jay McTighe and Eliot Seif THE UNIT OR COURSE DESIGN • Reflects a coherent design - - big ideas and essential questions clearly guide the design of, and are aligned with, assessments and teaching and learning activities • Makes clear distinctions between big ideas and essential questions, and the knowledge and skills necessary for learning the ideas and answering the questions. • Uses multiple forms of assessement to let students demonstrate their understanding in various ways. • Incorporates instruction and assessment that reflect the six facets of understanding - - the design provides opportunities for students to explain, interpret, apply, shift perspective, emphatize, and self-assess.

45. INDICATORS OF TEACHING FOR UNDERSTANDING by Jay McTighe and Eliot Seif THE UNIT OR COURSE DESIGN • Anchors assessment of understanding with authentic performance tasks calling for students to demonstrate their understanding and apply knowledge and skills. • Uses clear criteria and performance standards for teacher, peer, and self-evaluations of student products and performances. • Enables students to revisit and rethink important ideas to deepen their understanding. • Incorporates a variety of resources. The textbook is only one resource among many (rather than serving as the syllabus).

46. INDICATORS OF TEACHING FOR UNDERSTANDING by Jay McTighe and Eliot Seif THE TEACHER • Informs students of the big ideas and essential questions, performance requirements, and evaluative criteria at the beginning of the unit or course. • Hooks and holds students’ interest while they examine and explore big ideas and essential questions. • Uses a variety of strategies to promote deeper understanding of subject matter. • Facilitates students’ active construction of meaning (rather than simply telling) • Promotes opportunities for students to “unpack their thinking” - - to explain, interpret, apply, shift perspective, emphatize, or self-assess (incorporates the six facets of understanding).

47. INDICATORS OF TEACHING FOR UNDERSTANDING by Jay McTighe and Eliot Seif THE TEACHER • Uses questioning, probing, and feedback to stimulate student reflection and rethinking. • Teachers develops basic knowledge and skills in the context of big ideas and explores essential questions. • Uses information fron ongoing assessments as feedback to adjust instruction. • Uses information from ongoing assessments to check for student understanding and misconceptions (beyond the textbook) to promote understanding.

48. INDICATORS OF TEACHING FOR UNDERSTANDING by Jay McTighe and Eliot Seif THE LEARNERS • Can describe the goals (big ideas and essential questions) and performance requirements of the unit or course. • Can explain what they are doing and why (i.e., how today’s work relates to the larger unit or course goals. • Are hooked at the beginning and remain engaged throughout the unit or course. • Can describe the criteria by which they work will be evaluated.

49. INDICATORS OF TEACHING FOR UNDERSTANDING by Jay McTighe and Eliot Seif THE LEARNERS • Are engaged in activities that help them to learn the big ideas and answer the essential questions. • Are engaged in activities that promote explanation, interpretation, application, perspective taking, empathy, and self-assessment (the six facets)

50. INDICATORS OF TEACHING FOR UNDERSTANDING by Jay McTighe and Eliot Seif THE LEARNERS • Demonstrate that they are learning the background knowledge and skills that support the big ideas and essential questions. • Have opportunities to generate relevant questions. • Are able to explain and justify their work and their answers. • Are involved in self-or peer-assessment based on established criteria and performance standards. • Use the citeria or rubrics to guide and revise their work. • Set relevant goals based on feedback.