title: Preparing pupils for peer or group response

authors: Foster, Rebecca

subjects: peer response

abstract: Teaching writing is a complex skill, and one that needs attention if student writing scores across New Zealand are to improve. The teaching of writing has changed over the years from a traditional product approach, where students wrote for the teacher, to a more collaborative approach where students work together as part of a writing community.
Peer or group response is one approach that teachers can use when building a writing community as part of their writing programme. This typically involves groups of students sharing and responding to writing, usually during the revision stage of the writing process. Students use the responses they receive from peers to revise their message, which in turn impacts on the quality of writing produced.
Preparing students for effective peer or group response is a sophisticated process that requires careful planning and preparation. This research used qualitative observations and interviews to investigate some of the ways that four teachers prepared their students for peer or group response in writing. The results of this study suggest that there are a number of ways to prepare students for response in writing and that teachers will coach students how to respond to their own and others’ writing differently, depending on the discourse/s of writing and teaching writing that they consciously or unconsciously subscribe to. This research also shows that response activities motivate students, and suggests the benefits of adopting a school-wide approach and involving teachers in professional development to help develop their identity as a writer.

text: Preparing pupils for peer or group response Teaching writing is a complex skill, and one that needs attention if student writing scores across New Zealand are to improve. The teaching of writing has changed over the years from a traditional product approach, where students wrote for the teacher, to a more collaborative approach where students work together as part of a writing community.
Peer or group response is one approach that teachers can use when building a writing community as part of their writing programme. This typically involves groups of students sharing and responding to writing, usually during the revision stage of the writing process. Students use the responses they receive from peers to revise their message, which in turn impacts on the quality of writing produced.
Preparing students for effective peer or group response is a sophisticated process that requires careful planning and preparation. This research used qualitative observations and interviews to investigate some of the ways that four teachers prepared their students for peer or group response in writing. The results of this study suggest that there are a number of ways to prepare students for response in writing and that teachers will coach students how to respond to their own and others’ writing differently, depending on the discourse/s of writing and teaching writing that they consciously or unconsciously subscribe to. This research also shows that response activities motivate students, and suggests the benefits of adopting a school-wide approach and involving teachers in professional development to help develop their identity as a writer.

year: 2014

title: Performative Methodologies: Geographies of Emotion and Affect in Digital Storytelling Workshops

authors: Bliss, Elaine

subjects: digital storytelling

abstract: This thesis advocates digital storytelling as a geographical methodology to understand how emotion and affect are produced. Digital storytelling is a flexible and workshopped methodology that captures experimental, creative and imaginative performances of emotion and affect. Through digital storytelling geographers may build understandings of how emotion and affect are experienced individually and collectively. I use 11 digital storytelling workshops, with more than 100 participants, as the primary sites for my research. The workshops were conducted in the United States and New Zealand and were modelled on the practice established by the Center for Digital Storytelling in Berkeley, California, United States. It is argued that digital storytelling workshops co-create emotion, affect, people and place.
Individual and group interviews, reflexive autobiographical journal writing, and digital storytelling workshop training, participation, and observing are used to access emotion and affect in digital storytelling workshops. A combination of qualitative research methods and critical social theories are used to highlight embodied, emotional and affectual geographies.
Three findings frame my discussion. First, digital storytelling workshops are performative spaces for the staging and circulation of emotion and affect. The concepts of infrastructure, improvisation, and intimacy are critical for understanding the dynamic nature of emotion and affect in digital storytelling workshops. Second, a focus on relationality allows for an examination of psychotherapeutic practice and the transformative capacity of digital storytelling workshops. Workshop spaces are understood as ‘connective mediums’ in which a third position – the gap between the flow of emotions and the representation of that experience - is possible. Third, voice in digital storytelling is a political process of speaking and listening. A focus on voice permits an exploration of the acoustic politics of emotion and affect at individual and collective spatial scales. Digital storytelling workshops facilitate processes of seeing, hearing and experiencing emotion and affect as a way of interpreting the geographical worlds of research participants. 
The Center for Digital Storytelling’s model incorporates a commitment to social justice that honours and values emotional knowledge. As a practice-based research methodology digital storytelling requires researchers to be reflexive and negotiate their multiply layered ethical positionings. As geographers continue to experiment with innovative ways of conducting research, the messiness of digital storytelling can contribute to methodological debates about the ‘doing’ of emotion and affect in geographical research.

text: Performative Methodologies: Geographies of Emotion and Affect in Digital Storytelling Workshops This thesis advocates digital storytelling as a geographical methodology to understand how emotion and affect are produced. Digital storytelling is a flexible and workshopped methodology that captures experimental, creative and imaginative performances of emotion and affect. Through digital storytelling geographers may build understandings of how emotion and affect are experienced individually and collectively. I use 11 digital storytelling workshops, with more than 100 participants, as the primary sites for my research. The workshops were conducted in the United States and New Zealand and were modelled on the practice established by the Center for Digital Storytelling in Berkeley, California, United States. It is argued that digital storytelling workshops co-create emotion, affect, people and place.
Individual and group interviews, reflexive autobiographical journal writing, and digital storytelling workshop training, participation, and observing are used to access emotion and affect in digital storytelling workshops. A combination of qualitative research methods and critical social theories are used to highlight embodied, emotional and affectual geographies.
Three findings frame my discussion. First, digital storytelling workshops are performative spaces for the staging and circulation of emotion and affect. The concepts of infrastructure, improvisation, and intimacy are critical for understanding the dynamic nature of emotion and affect in digital storytelling workshops. Second, a focus on relationality allows for an examination of psychotherapeutic practice and the transformative capacity of digital storytelling workshops. Workshop spaces are understood as ‘connective mediums’ in which a third position – the gap between the flow of emotions and the representation of that experience - is possible. Third, voice in digital storytelling is a political process of speaking and listening. A focus on voice permits an exploration of the acoustic politics of emotion and affect at individual and collective spatial scales. Digital storytelling workshops facilitate processes of seeing, hearing and experiencing emotion and affect as a way of interpreting the geographical worlds of research participants. 
The Center for Digital Storytelling’s model incorporates a commitment to social justice that honours and values emotional knowledge. As a practice-based research methodology digital storytelling requires researchers to be reflexive and negotiate their multiply layered ethical positionings. As geographers continue to experiment with innovative ways of conducting research, the messiness of digital storytelling can contribute to methodological debates about the ‘doing’ of emotion and affect in geographical research.

year: 2015

title: Ngā maihi o Te Whare Hukahuka, ngā maihi o Te Whare o Ruamano: Te whare kōrero o ngā maihi o Tuteao

authors: Hona, Hakahaka Charlie Barlow

subjects: Tuteao

abstract: Ko Pūtauaki te maunga
Ko Rangitāiki te awa
Ko Hekerangi te papa whenua
Ko Tuteao te marae
Ko Ngā Maihi te hapū
Ko Ngāti Awa te iwi
Ko Mataatua te waka
Tihe mauri-ora
Ko tōku kāwai rangatira tēnei. E mōhio ai te tangata ko wai ahau; nō hea ahau, nā wai hoki ahau. Ā, nā whai anō taku urupounamu, ko wai a Ngā Maihi o Tuteao? E mea ana ngā pākeke, he iwi tawhito a Ngā Maihi i heke mai i ngā tātai whakapapa o Tangaroa, o Pōtiki, o Mahutapoanui, o Toroa, o Tuteao. Hēoi, kua kore e rangona ōna kōrero i runga marae ātea. Kua kore e wānangahia i roto i te poho o te whare o Tuteao. Kua ngū ngā poupou o te whare kōrero. Ka mutu, i roto i ngā tau tata nei kua riro tītapu ngā puna o te kī, ngā whītiki o te kupu, o te hapū; kua kore e rangona ngā kōrero o Ngā Maihi i runga marae ātea. Ko te haumate o te reo i runga o Tuteao tētahi take i pēnei ai. Nō reira, kai te imu te ruhi, kai te imu te ngēngē. E noho pōhara ana a Ngā Maihi ki ngā tāonga o tōna whare kōrero. Hei te tau 2027, ka whakanuia te rautau o te whare tīpuna a Tuteao, ā i tēnei tau tonu 2022, e whai whakaaro ana te hapū ki taua kaupapa otirā ki te hanga whare tīpuna hou; he whare kaitā e uru ai te tokomaha. Nō reira, e whakaaro ana hoki ki ngā kōrero ka whakairohia ki ngā pakitara o te whare. I tēnei tau hoki kua mana te whakaako i ngā kōrero hītori o te Māori i roto i ngā kura, nō reira he aha rā ngā kōrero e wātea ana ki ngā tamariki o ngā kura e pā ana ki a Ngā Maihi? He maramara, he kongakonga, he putunga kōrero e noho marara ana i ngā wāhi tūmatanui. He uaua te kitea o ētahi atu, kei ngā wāhi tūmataiti, pēnei i te Kōti Whenua Māori, i ngā tuhinga ā-whānau, kei ngā pukapuka wānanga o te marae. Nō reira, he uaua te kite atu i tōna whānuitanga, i tōna hohonutanga. Tīmata ake i ngā kohinga kōrero o te hapū tonu o Ngā Maihi, i ōna kaumātua, i ōna wānanga, i ōna whānau. I tua atu i wā te whare pukapuka, kei ngā wāhi tūmataiti ētahi putunga kōrero hei ō mo te whare kōrero o Ngā Maihi o Tuteao. Ka mutu, kei ngā waiata, ngā haka, ngā mōteatea. Kai ngā kōrero hoki o iwi kē, e pā ana ki wō mātou tīpuna. I reira i tōtō mai i te kōrero.

text: Ngā maihi o Te Whare Hukahuka, ngā maihi o Te Whare o Ruamano: Te whare kōrero o ngā maihi o Tuteao Ko Pūtauaki te maunga
Ko Rangitāiki te awa
Ko Hekerangi te papa whenua
Ko Tuteao te marae
Ko Ngā Maihi te hapū
Ko Ngāti Awa te iwi
Ko Mataatua te waka
Tihe mauri-ora
Ko tōku kāwai rangatira tēnei. E mōhio ai te tangata ko wai ahau; nō hea ahau, nā wai hoki ahau. Ā, nā whai anō taku urupounamu, ko wai a Ngā Maihi o Tuteao? E mea ana ngā pākeke, he iwi tawhito a Ngā Maihi i heke mai i ngā tātai whakapapa o Tangaroa, o Pōtiki, o Mahutapoanui, o Toroa, o Tuteao. Hēoi, kua kore e rangona ōna kōrero i runga marae ātea. Kua kore e wānangahia i roto i te poho o te whare o Tuteao. Kua ngū ngā poupou o te whare kōrero. Ka mutu, i roto i ngā tau tata nei kua riro tītapu ngā puna o te kī, ngā whītiki o te kupu, o te hapū; kua kore e rangona ngā kōrero o Ngā Maihi i runga marae ātea. Ko te haumate o te reo i runga o Tuteao tētahi take i pēnei ai. Nō reira, kai te imu te ruhi, kai te imu te ngēngē. E noho pōhara ana a Ngā Maihi ki ngā tāonga o tōna whare kōrero. Hei te tau 2027, ka whakanuia te rautau o te whare tīpuna a Tuteao, ā i tēnei tau tonu 2022, e whai whakaaro ana te hapū ki taua kaupapa otirā ki te hanga whare tīpuna hou; he whare kaitā e uru ai te tokomaha. Nō reira, e whakaaro ana hoki ki ngā kōrero ka whakairohia ki ngā pakitara o te whare. I tēnei tau hoki kua mana te whakaako i ngā kōrero hītori o te Māori i roto i ngā kura, nō reira he aha rā ngā kōrero e wātea ana ki ngā tamariki o ngā kura e pā ana ki a Ngā Maihi? He maramara, he kongakonga, he putunga kōrero e noho marara ana i ngā wāhi tūmatanui. He uaua te kitea o ētahi atu, kei ngā wāhi tūmataiti, pēnei i te Kōti Whenua Māori, i ngā tuhinga ā-whānau, kei ngā pukapuka wānanga o te marae. Nō reira, he uaua te kite atu i tōna whānuitanga, i tōna hohonutanga. Tīmata ake i ngā kohinga kōrero o te hapū tonu o Ngā Maihi, i ōna kaumātua, i ōna wānanga, i ōna whānau. I tua atu i wā te whare pukapuka, kei ngā wāhi tūmataiti ētahi putunga kōrero hei ō mo te whare kōrero o Ngā Maihi o Tuteao. Ka mutu, kei ngā waiata, ngā haka, ngā mōteatea. Kai ngā kōrero hoki o iwi kē, e pā ana ki wō mātou tīpuna. I reira i tōtō mai i te kōrero.

year: 2022