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NATRE / Hockerill Conference. Assessment: 8 levels explained and task setting exemplified.

NATRE / Hockerill Conference. Assessment: 8 levels explained and task setting exemplified. QCDA’s 8 level scale in NSC is also used by almost all the Agreed Syllabuses written since 2004, and versions for NBRIA and CE schools too..

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NATRE / Hockerill Conference. Assessment: 8 levels explained and task setting exemplified.

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  1. NATRE / Hockerill Conference. Assessment: 8 levels explained and task setting exemplified. • QCDA’s 8 level scale in NSC is also used by almost all the Agreed Syllabuses written since 2004, and versions for NBRIA and CE schools too.. • The levels are not perfect – but they picture progression well, can drive good task setting, and give parity with Hi and Ge. • The 8 level scale is over 800 words of text. Here it comes in 51 words – not a replacement for the full scale, but a useful summary • New QCDA and SACRE work on Assessing Pupils’ Progress (APP) is available online from the DfE 1

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  3. Aims and learning intentions • This presentation provides for pupils to think about the life, teaching and example of Jesus, referring to the global contemporary art of the gospel narratives • One theological aspect of the art of Christian communities is incarnational: Christians make art which makes their ‘far away and long ago’ sacred story happen in their own ‘here and now’. • In RE, creative, thoughtful and purposeful writing can energise pupils’ motivation and learning. These tasks are supposed to demonstrate such approaches. • These learning activities are adaptable. While they are demonstrated with reference to a piece of work for a particular age group, teachers can easily adjust them to be more demanding, or more accessible. • The learning activities are described in ways that can be used directly with pupils, with a selection of these slides as a stimulus for their work. 4

  4. Picturing Jesus: Fresh Ideas RE Today 5

  5. Max Beckmann’s narrative painting of the meeting of Jesus with a woman caught in the act of adultery bristled with his contempt for the self-righteousness of her accusers, who were willing to use her to try and trap Jesus into a statement against the law of Moses (which required she be stoned). The flame-haired woman is bare breasted, and her situation might be shameful but she and Jesus painted with dignity. She kneels, resigned to her likely fate, as Jesus protects her from the stoning rabble with the help of a temple soldier. The powerful, white figure of Jesus dominates the structure and composition: he defends the woman and stops the clamour against her. His face is expressive, but ambiguous – different viewers see fury, or tenderness there. This is part of Beckmann’s skill. The painting is full of hands – some point the finger, raise a stone or make a fist. But the hands of Jesus seem to scoop up the woman, offer some protection. His deeply veined arm reaches down compassionately. Jesus’ story is sometimes seen by artists as a peaceful series of set pieces. But actually controversy raged about him. Expressionist style and busy images of the argument at the heart of this incident makes Beckmann’s view from the 20th century seem realistic in some ways. 6

  6. Judgement tasks are a powerful part of moving learners beyond information. Use the 12 alternatives to respond with our judgements to the picture you have. Note that the time spent on this enables visual learning to be focused: Look + Think = Learn

  7. Casting Jesus Jay, 13, considers which actor to cast as Jesus in a new movie. His work demonstrates a good grasp of features of Jesus’ life. The role of ‘casting director’ is used with literacy skills to show a clear interpretation of Jesus’ significance. The 2nd para is as concise an interpretation of the person of Jesus as I’ve seen. Can he make an insightful interpretation of the gospel portrait of Jesus, giving examples and ideas of his own? If so, L6 Picturing Jesus: Fresh Ideas RE Today 8

  8. Elodie, 15, expresses her insights into the representation of Jesus in ways that include a critical engagement with the forms of representation she rejects. Her interpretations connect powerfully with many details of Jesus in the gospels and with the realities of Palestine from 2000 years ago, as well as with the contemporary culture of film. It’s a piece of work in which the task has energised her understanding at a high level. I think a coherent personal and critical evaluation of the significance of Jesus in Christian belief is shown here – L7. Can your pupils suggest who would be a good choice to portray Jesus, or some other key characters from his story? Picturing Jesus: Fresh Ideas RE Today 9

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