Conflict in the Pacific: The Battles

I enjoy teaching Conflict in the Pacific (for Part IV of the Modern History HSC syllabus) because I feel like there's a genuine interest from a lot of Australian kids about this part of history. All the bits of World War II are big, and interesting, but it's arguably the Pacific Theatre that has the most relevance to our corner of the world. When I hear students talking about the impact the Pacific War had on their grandparents, and think about the way it influenced Australia's foreign policy and sense of identity, I feel like I'm in the 'goldilocks zone' of the Modern History subject. It's not too close to home that students are disinterested, and it's not too distant and alien as to make them feel like it's irrelevant to their lives and experience.

I've taught Conflict in the Pacific before and if there's one thing I took away from the experience it was that I could cover the battles better. There's a dot point in the syllabus that specifics coverage of four battles - the Battle of the Coral Sea, the Battle of Midway, the Battle of Guadalcanal, and the New Guinea Campaign.  

I think I struggle with battles in general. They seem like such visual and kinesthetic things that a classroom can never really do them any justice. How do I get the real nature of a battle across to my students when I myself have never experienced such a thing? How do I explain the strategies and the implementation of each side's campaigns? And what of the impact on the course of the overall war itself?

In the past I've created research sheets and turned it into an jigsaw-styled activity. I've been guilty of doing this with the syllabus-dictated WWI battles too, but I wanted to move away from this because my current cohort aren't the biggest fans of these kinds of lesson. So this time around I was determined to find a better way to teach the battles in a relatively efficient amount of time. 

If you're waiting to hear about some amazing new pedagogical process I'm afraid you're about to be disappointed. All I did was put together a PPT describing each battle in its various stages, and gave students an accompanying set of sheets to fill in while we discussed each one. I guess my sense of achievement here is simply that I processed something that, to me, seemed incredibly complex, and then turned it into something more teachable in my Western Sydney classroom. The bits I'm happiest with are the simple little annotations I've added over the top of each of the maps. 

So if you've got a class who can listen a little while they work, and are looking for a relatively easy way of teaching the battles, then get them to do the following:

1. Work through the PPT below, talking about each battle as you go.
2. Stop at each map and have the students annotate them on the 'Battles' sheet with the arrows and labels shown in the PPT. 
3. Discuss the logistics of each stage of the battle as you move through the PPT, whilst students fill in the accompanying sections of the 'Battles' sheets.

NOTE: I left the New Guinea Campaign out of the PPT because I wanted to focus on it separately.

Resources
Turning Points in the Pacific War (PPT)
Battles (pro forma)

What Could I Be Doing Differently?

Most of my blog tends to focus on the practical and pragmatic. Well, I at least hope that's the case - it's up to those of you who read it to decide if these lessons and resources have been practical. The point is that I like to focus on what it is that we, as teachers, can do in the classroom to make things run more efficiently and effectively. 

It's not a perfect world though, and things can and do occasionally go pear-shaped in the classroom. There's a tendency in teaching for people to externalise these issues and look for blame-factors - heck, it's something that lots of people do in life in general. I'm not saying that external factors don't exist but there's little point in stressing about what you cannot change.

Therefore, if something ever goes askew or wrong then I like to internalise the problem and look for what it is that I, the classroom teacher, could be doing differently to avoid or fix the situation. There are three things that I always come back to in my head, and they work like a mantra:

1. If I don't like something, then I'm the only one who can fix it - and that extends to fixing my perception. I might just be looking at the whole situation the wrong way. What could I be doing differently?
2. If I want something done the way I want it done, then I should do it myself. That's how things get done. No one else is going to do something for you, they have their own things to do.
3. Don't ever ask anyone - parents, other teachers, students - to do something that I myself would not be prepared to do. 

I recently read 101 Answers for New Teachers and Their Mentors by Annette Breaux. It's a fantastically positive book for educators that has given me a whole bunch of great ideas and reaffirmed my teaching philosophy. I think that we all, at some level, want to be appreciated by our clientele - the students, the parents, and even the administrators/executive branch that we work for. It's their taxes that generate our salaries - we owe it to each of these groups to do a good job. 

At the end of 101 Answers is a section from one of Breaux's other books, Seven Simple Secrets, that details what makes for effective and appreciated teachers, and a lot of it just makes sense to me. I read over it and came up with this list on how I reinforce positive teaching practice:

Things that students like:

• Teachers who are nice to them
• Teachers who make learning fun
• Teachers who help students succeed
• Teachers who challenge students
• Teachers who are clear and consistent with expectations 
• Teachers who are willing to start each day afresh
• Teachers who get to know their students as people

Things that parents like:

• When teachers treat their child as fairly as we would treat our own
• Teachers who do their best to keep them informed
• When teachers make an effort to communicate positively
• When teachers listen to what they have to say 
• Teachers who never give up on their child
• Teachers who challenge students while making learning fun 

Things that the executive like:

• Teachers who prepare their lessons well before they teach them
• Teachers who handle their own discipline problems
• Teachers that make decisions based on what's best for students
• Teachers who maintain professionalism when interacting with non-administrators (parents, students, other teachers)
• Teachers who continue to educate themselves
• Teachers who manage their classroom efficiently 
• Teachers who treat every child with respect and dignity
• Teachers who cater for all stakeholders 

I'm not saying that I'm a great teacher, but I think that if I continue to work on doing each of these things to the best of my ability then I'm going to get there eventually. We can always be better at what we do.

I realise that not every teacher reading this will be willing to focus their frustrations entirely on themselves but I figure that there's more than enough negative stuff out there so a little bit of positive practicality can't go astray.

Fostering Engagement with English Studies

Discovering new worlds through the wonders of travel...

It's Term 3 for Year 12 so I'm at the tail end of teaching English Studies and now at a point where I can reflect on the subject with some hindsight. I would be lying if I said that I had gone into teaching this subject without some degree of trepidation, however, it turned out to be one of the most liberating, vocationally-affirming and positive experiences of my teaching career so far.

The way I see it: English Studies gives space to engage students with the role of language and texts in representing our authentic interaction with the world around us. For my class, this meant learning how to write letters and postcards, plan holidays, construct a resume that promotes their abilities, work collaboratively and effectively, make appropriate use of technology, and communicate in a meaningful manner. 

Something else to consider with English Studies in keeping students engaged is being strategic about the way assessment is used. I have found that the most effective way of using assessment with English Studies is through project-based (or authentic) assessment. In the terminology of the syllabus, this means Assessment as Learning. The last term of a 7 term slog with these students was always going to be a stretch in regards to mustering student-enthusiasm, so I knew I had to come up with a program for the travel-writing unit On the Road that:

• Integrated assessment into every lesson (therefore making the content meaningful and answerable to the audit process).
• Incorporated real life skills (IE. Planning their own holiday - something I'm sure that all of them will have to do at some point in the near future).
• Was fun (meaning that I could incorporate an excursion as a nice way to finish the topic with a class that had been such a pleasure to teach).

I had four weeks allocated for the assessable part of the topic at the beginning of this term, so I created a booklet of three sections. In order to complete the assessment 'task', students also had to work through a couple of lessons in the booklet designed to build their use of travel-related meta-language.

Section 1: Plan Your Overseas Trip

This is the nuts and bolts section and, at first glance, is mainly organisational in outlook. Students must select an international destination and then use the internet to research all the necessary components of a real holiday. This means:

1. Flights - time and price.
2. An itinerary that details where they will be going on each day of a 7 day trip.
3. Accommodation.
4. Distance and means of transport from airport to accommodation.
5. Safety precautions (vaccinations, travel insurance)

Students are also required to compose three 'Facebook' posts (in the assessment booklet) describing three of their hypothetical days on their holiday.

Section 2:The Excursion

What's more authentic than getting your students to co-plan their own excursion? We decided to go on a day trip to Katoomba in the Blue Mountains (about an hour's train ride from where we are). Students had to research the logistics of catching the train there, times of arrival and departure, and figure out an itinerary that would include lunch and a visit of some local sights.

While on the excursion, students were required to take at least five photographs that would represent their travels, categorise them with a class-specific hashtag (and four other hashtags of their own invention), and then analyse their photographs in terms of what they represent.

I can confidently say that this excursion (on which I took 14 students) was the most technically successful excursion I have ever taken students on. By that I mean every student was engaged with the task at hand - taking photographs of Katoomba - and the 14 students who attended accounted for about 70% of the entire class (the highest percentage of attendees I have ever gotten anywhere on excursion). On the train trip home, nearly every student spent the entire hour uploading their photographs to Instagram and hashtagging them. 

Section 3: Travel Writing

Students read an excerpt of travel writing (taken from this here blog) and answer some comprehension questions. I included this section to round off the booklet with a travel writing-focused activity, to illustrate to the students the way their excursion and planning links to reading and writing. 

Anyway, that's enough of that, here's the whole unit if you'd like to have a look - HSC English Studies: On the Road plus two associated resources (here and here). You might have to adapt it if you want to use it and don't want to go to Katoomba. Credit goes to my colleague Kira Bryant for the meta-language activities in the above booklet that act as a prelude to Section 1.

Assessment

The rubric at the end of the unit makes use of analytical criteria, with students assessed in four ways. I'll just write a little on each one...

• Audience and Purpose: This refers to the student's ability to make use of language in a way that is audience-appropriate. In other words, writing with some degree of formality when required and understanding the purpose of language in certain contexts. (Links to Outcome H2.2) 
• Representation: The student's ability to annotate/analyse their own photographs in a way that insightfully represents their travel experience. (Links to Outcome H1.4) 
• Planning: How well (authentically) and in-depth did the student plan their overseas journey, and the excursion to Katoomba? (Links to Outcome H4.1) 
• Commitment: How thoroughly the student completes the assessment booklet and/or gets involved in the class throughout the four weeks. (Links to all three of the above outcomes, really).

Added Authenticity

As an additional piece of fun I organised with Blue Mountains City Council to have the five best photographs  re-posted on the Blue Mountains Visitor Information Centres Instagram feed. I think this was a great way to demonstrate to the students the authentic nature of the task, and the ways in which representation of experience (IE. Thoughtful photographs with a range of hashtags that show authorial intention) is both an English skill and a real world skill.

English Textual Concepts - the Processes

About a month ago I had the opportunity to undertake some professional learning after school. One was an Adobe Connect session (which are a fantastically efficient and user-friendly way to conference - and FREE!), and the other was a Primary Executive Support Group seminar (only $40 and not too far from where I live - money well spent). Both, by serendipitous coincidence, focused on the English Textual Concepts - the rollout and implementation of which continues with much excitement and energy across Australia.

I've spoken about the Concepts on this blog before; in particular the way this framework re-positions the English syllabus through a lens that assists in applying a consistent focus and agreed-upon metalanguage to the way we (English teachers) approach our subject area. All English teachers have an idea of what characterisation and narrative are, however, do they have the same idea of what they are and where students should be in their own understanding of these things? How do we approach a level of consistency and standardisation that lends our KLA increased credence and authority?

We can agree that English is about the study of texts and textuality, and that texts represent power relationships and culture, but the English Textual Concepts allows this to be extended further into a definitive paradigm. 

I think I've attended six separate sessions explaining the Textual Concepts now and I've mostly spent this time thinking about the Concepts part of the framework - the things like Argument, Code and Convention, Figuration, etc. This time though I found myself thinking more about the Processes half of the framework. 

My colleague and friend Kira Bryant pointed out to me that the Processes are the framework's equivalent of the syllabus modes (the way we assess English - Listening, Speaking, Writing, Reading, Viewing, Representing), and it got me thinking about how the Processes could be used in a similar way. 

Processes

• Experimenting - Creative or Imaginative Writing, and Representation
• Engaging Personally - Enjoyment or Value or Personal Response
• Engaging Critically - Analysing Techniques and Structure
• Connecting - Exploring Context, and Intertextuality
• Understanding - Identifying and developing Understanding of Themes and Ideas
• Reflecting  - Metacognition and recognition of Learning Processes

Imagine dividing our assessment of English into these processes. There's a certain authenticity in modelling assessment on the ways we want students to think. We teach this stuff anyway, and the English Textual Concepts framework points us in the direction of teaching this stuff more explicitly. 

And hey, this interpretation has only just come to me while listening to the aforementioned seminar, so I may soon reformulate my ideas of how to use the Processes to assess. Heck, I know I will. But, to paraphrase the entrepreneur Reid Hoffman, if you're not embarrassed by the first version of something - then you've launched too late.

I might not be an ambitious capitalist techno-wunderkind like Hoffman (incidentally, he created LinkedIn, which was recently purchased by Microsoft) but I do believe this philosophy is applicable to teaching, writing, and most other things.

In other words, if you wait until something is perfect before you've revealed it to anyone, then you're probably waiting well past its due date in terms of relevance. In addition, it feels naive to think that anything can be perfected to this extent - we need to test ideas out in the real world to see if they stand up outside of the vacuum of our minds; if they can grow through the magic of dialectical exchange, or if they wither under the scrutiny of our peers.

Besides, history has shown us time and again that ideas are never 'finished'. There's always going to be something new to add. That's the nature of culture. 

Elysium - Characterisation and Representation of Ideas

The first shot of Max establishes a few things: the cramped nature of his house, his criminal or low socio-economic background (reflected in the Latino-styled tattoos), and the dated technology in his home juxtaposed against the robots and space station outside.

I'm a big believer in advocating for students who might not be harnessing their gifts to their fullest potential. In English, this means those students who are naturally gifted in terms of critical thinking and analysis, although they may not have the skills to formulate these gifts into the traditional modes of English communication (writing, representing, reading, etc.) So, with this in mind, I think there's still a lot of room in Preliminary Advanced English for scaffolding students. I don't want to assume that a student comes into Advanced English already knowing everything, and that includes knowing all the "how to" skills. What would be the point of that? If a student already knows what you're teaching and how to do it, then they should be skipping grades and looking for early entrance to university!

I've spoken about using Elysium as part of a comparative study on dystopian texts here, here and here, so I wanted to extend this a little further to show how students can analyse the way characterisation reflects the themes and context of the film.

My first-year teaching self would have just asked the students to look at a character and tell me what they represent. I would have left it open-ended in the belief that an Advanced English student could pour their magic mojo on it and interpret the characters independently. My time teaching a multiplicity of students and diverse student-types has taught me that this approach only achieves one thing: it gets answers out of those who already know how to do it. 

The mercenary Kruger is modeled after the notorious rogue soldiers known as 32 Battalion, who served in South Africa in the 1970s and 1980s. The shot above, where he uses a samurai sword to BBQ meat on a rooftop, reflects the ease and confidence in which he moves within the dangerous favelas.

In recent years I've been taking a different approach to high-achieving students. Why not just give them all the information they need, and therefore force them to focus more explicitly on the skills rather than the content? This isn't a new idea... it's reflected in flipped classrooms, project-based learning, scaffolding, etc., so it's not so much an epiphany as just a reinforcement of where I want to push the students.

The lesson below features character profiles of the major figures in Elysium - Max, Frey, Delacourt, Kruger, Spider, and Carlyle. Each profile contains some basic shot analysis, explanations of the etymology of the character's name, and additional context that links to what writer-director Neill Blomkamp was aiming for in his stylistic choices for how the characters are represented. It's all there for the students. They wouldn't know this stuff automatically; I had to arrive at the contextual knowledge through my own research and analysis so it would be silly to assume that the students could come up with this deep knowledge of content on the spot during the lesson.

The point is to instead discuss and read this stuff with the students and then get them to deconstruct the character with a higher order question (EG. 'In what way...', 'What is the significance...'). The student takes the information given to them and uses it to formulate their own response. It's okay for the information to be explicitly given to them because they're essentially doing what a university student does, which is working with a reading or text to bring a diverse array of content into their own hands as they put pen to paper. The more they do this, the wider and deeper their personal knowledge of the subject will become. It's not a radical concept; I just wanted to share the resource below and explain how it works :)

Resource - Representation/Characterisation in Elysium

An Objective History of the Conflict in the Pacific

In response to the title of this blog, according to history teacher/maestro Dr Bruce Dennett, there is no objective history of conflict in the Pacific. 

In teaching the International Studies in Peace and Conflict portion of the Modern History HSC syllabus, the task of diving into the Conflict in the Pacific (Option D) seems deceptively simple. Look at it on the immediate level:

• It's a linear study of WWII, something that some Modern History students will be craving after all their studies of WWI and 1930s European politics. 
• It involves Australia, and is part of Australia's national identity. 
• It features two big keystones that appeal to many budding historians: the bombing of Pearl Harbour and the bombing of Hiroshima and Nagasaki. 

Listening to Bruce Dennett at the HTA Senior History HSC Study Day, it quickly becomes very clear that the conflict in the Pacific is an incredibly complex area of historical study that rewards sophisticated historical thinking. I know this, and you know this, but to hear him pull apart the history to destroy any semblance of objectivity is something else entirely. 

Incidentally, if you ever get a chance to see Dennett speak at one of these HTA days, you should jump right onto it. He's exceptionally well-read and very clever in his insights into well-trodden areas of history but, most importantly for any students in the audience, he's also very entertaining and engaging and a key architect of the Modern History HSC syllabus.  

In his lecture on the Conflict in the Pacific, Dennett asserts that Modern History students need to engage with the historiography in order to construct, in the words of the HSC rubric, a sophisticated response. Rather than trying to befuddle our students' minds with the mechanics of historiography or expecting them to memorise a plethora of relevant historians, it instead becomes useful to present contradictory truths about the war and ask students to build their own sustained arguments that touch on both sides of such debates. 

So, as Dennett says, the war was not inevitable, the Allied victory was not inevitable. The only tactic available to MacArthur was not his island-hopping campaign. There are multiple sets of arguments that can be supported. There are a multiplicity of valid historical truths. There is no such thing as an objective history of conflict in the Pacific. And, what the Japanese learn about WWII is, unsurprisingly, very different to what Australians or Americans learn about.

Here are some examples of debates that students can get stuck into:

The Atomic Bombs: There are arguments to be made for the atomic bomb being completely unnecessary, just as there are arguments that can be made about the atomic bombs saving lives in both Japan and elsewhere.

Hirohito and the Reasons for War: In one version of events, Hirohito was an aggressor hellbent on imperial domination of Asia, and completely unjustified in expanding across the Pacific - guilty of countless atrocities and invasions. In another version of events, Hirohito did not want war but was forced into it by 'ABCD' encirclement (Americans, British, Chinese, Dutch). When the Japanese started their war against China it felt justified as, in living memory, they had faced subjugation by the Chinese Empire. Japan also remembered when Commodore Perry (an American) forced them to open trade with the West through thinly-veiled threats of naval attack in the 19th century.

Beliefs about Defeating the Enemy: Were both sides essentially working off the same strategy? The Japanese believed that if they destroyed 10 American warships then this would cripple the U.S. fleet beyond repair. The American strategy, Plan Orange, led to a transition from a major naval confrontation to 'island hopping', and debates amongst Americans over which was more effective - naval or air power.

Growth of Pacific Tensions: How much knowledge did President Roosevelt have of the incoming Japanese attacks that would prompt U.S. involvement in the war? Were American blockades of the Japanese in the 1930s designed to weaken the Japanese so that they were unable to fight a war? Were both America and the Japanese trying to out-manoeuvre each other before any active war broke out?

The War Crimes Tribunal: How badly should Japan have been punished? Were the War Crimes Trials about punishment of the Japanese at the hands of the Allies? Or was it a process of rehabilitation for America to build a new Cold War ally?

MacArthur: Was he a legend? Or was it only in his own mind? Arguments can be made (to the contrary of the usual interpretation) that he should have been court-martialed for his role in leaving the Philippines woefully unprepared in 1941, and that he only had any real personal success after the American occupation of Japan had begun.

So, as said, multiple truths!

Elysium - Connotation and Invented Lexicon

Digging further into analysing Elysium as part of a Preliminary HSC Advanced English Comparative Study, I think it's necessary to address the role that genre plays in the film's context and language choices. 

Elysium is a very much a science fiction text in the most conventional sense of the term. Set in the future, and featuring a high concept collision between the tropes of utopian and dystopian societies, and coming with all the hardware trimmings that modern audiences have come to expect from big screen forays into the genre, I think you would be hard-pressed to find anyone who wouldn't classify it as a science fiction film. 

But what is it that separates Elysium from Animal Farm in its exploration of corrupt governance when we consider genre? Well, as most sci-fi fans will know, nearly any effective piece of speculative fiction will feature some sort of invented lexicon. When composers work with invented worlds, it becomes effective for them to represent the somewhat abstract concept of an imagined space with new terms. Several techniques can come into play here:

• Portmanteaus: a combination of pre-existing words into new words to reflect new contexts.
• Loanwords: words 'borrowed' from other languages to represent the increased influence of particular cultures on one another.
• Euphemisms: softer/dishonest ways of portraying harsh ideas; used to reflect the rhetoric of oppressive governments in their attempts to propagandise and persuade.
• Connotations: the associations people bring in their understanding of certain terms.
• Allusions: references to other bodies of knowledge; be they religious, mythological, historical, cultural, literary, etc. 

Not all of these come into play in Elysium, but some quite clearly do. An example is the term 'undocumented', which is used by the Elysium citizens to refer to the ships that carry desperate Earthlings. These are people who are attempting to travel to the elite space station in the hope of accessing godlike medical technology. Whilst 'undocumented' isn't an unfamiliar term, it is somewhat euphemistic as it belies the true attitude of Senator Delacourt towards the ships (IE. She wants to destroy them). The connotation of the term also calls to mind refugees in our own context; the 'undocumented' illegal immigrants who cross the border from Mexico to the U.S.A. (which should be familiar rhetoric to any student who has seen American television and Donald Trump's recent campaigning).

The document below contains a list of examples from Elysium's invented lexicon, and some of the bigger allusions made (such as the use of favelas and the origins of the term 'Elysium' itself). Students are asked to analyse the allusions made and consider the reasons for the director's choice of imagery. Following this, students can work in pairs to explain the connotations of some of the invented terms. The sheet then finishes by asking students to bring their analysis and understanding of context together as a personal response that assesses just how successfully they think the director has built a realistic vision of the future through the use of this language.  

Resource - The Language of Elysium