Language and Literature Assessment

Language and Literature
Upper Secondary
Teacher Guide
Papua New Guinea

Department of Education
Issued free to schools by the Department of Education
Published in 2008 by the Department of Education, Papua New Guinea
© Copyright 2008, Department of Education, Papua New Guinea
All rights reserved. No part of this publication may be reproduced, stored in a

retrieval system or transmitted by any form or by any means electronic,
mechanical, photocopying, recording or otherwise without the prior written
permission of the publisher.
ISBN 978-9980-9923-5-2
Acknowledgements
The Upper Secondary Language and Literature Teacher Guide was written,
edited and formatted by the Curriculum Development Division of the
Department of Education. The development of the teacher guide was
coordinated by Tracy Wilson.
Writers from schools, tertiary institutions and non-government organisations
across the country have contributed to the writing of this teacher guide
through specialist writing workshops and consultations. Quality assurance
groups and the English Subject Advisory Committee have also contributed to
the development of this teacher guide.
This document was developed with the support of the Australian
Government through the Education Capacity Building Program.
Upper Secondary Teacher Guide
Contents
Secretary’s message ...................................................................... iv
Introduction......................................................................................1
The outcomes approach ..................................................................2
Learning and teaching .....................................................................5
Language and Literature requirements ..........................................11
Assessing Language and Literature...............................................12
Learning activities and assessment tasks ......................................24
Recording and reporting ................................................................39
Resources .....................................................................................42
References ....................................................................................54
Glossary for Language and Literature............................................55
Glossary for assessment ...............................................................57
iii
Secretary’s message
This teacher guide is to be used by teachers when implementing the Upper
Secondary Language and Literature syllabus (Grades 11 and 12) throughout
Papua New Guinea. The Language and Literature syllabus identifies the
learning outcomes and content of the subject as well as assessment
requirements. The teacher guide gives practical ideas about ways of
implementing the syllabus: suggestions about what to teach, strategies for
facilitating teaching and learning, how to assess and suggested assessment
tasks.
A variety of suggested teaching and learning activities provides teachers
with ideas to motivate students to learn, and make learning relevant,
interesting and enjoyable. Teachers should relate learning in Language and
Literature to real people, issues and the local environment. Teaching using
meaningful contexts and ensuring students participate in appropriate
practical activities assists students to gain knowledge and understanding,
and demonstrate skills in Language and Literature. It is envisaged that by
the end of Grade 12 students are critical and discerning thinkers, and
productive individuals reaching their full potential.
Teachers are encouraged to integrate Language and Literature activities
with other subjects, where appropriate, so that students can see the
interrelationships between subjects and that the course they are studying
provides a holistic education and a pathway for the future.
I commend and approve the Language and Literature Teacher Guide for use
in all schools with Grades 11 and 12 students throughout Papua New
Guinea.
DR JOSEPH PAGELIO
Secretary for Education
iv
Introduction
The purpose of this teacher guide is to help you to implement the Language
and Literature syllabus. It is designed for students with a good command of
English and is largely literature based. The basic premise is that students’
language use develops through a study of literature, media studies and
associated activities.
The teacher guide supports the syllabus. The syllabus states the learning
outcomes for the subject and units, and outlines the content and skills that
students will learn, and the assessment requirements.
The teacher guide provides direction for you in using the outcomes approach
in your classroom. The outcomes approach requires you to consider the
assessment requirements early in your planning by explicitly stating these to
your students in the grade so that they know what to expect in the
assessments. Learning must be transparent and relevant to the needs of the
students.
This teacher guide provides examples of teaching and learning strategies. It
also provides detailed information on criterion referenced assessment with
samples of criteria marking guides, and the resources needed to teach
Language and Literature. There are samples of questions which reflect the
principles of critical literacy and sample assessment tasks. The section on
recording and reporting shows you how to record students’ marks and how
to report against the broad learning outcomes.
There is an emphasis on student-centred learning and activities, because
students learn better when they take part in their own learning through the
main strand activities, reading and viewing, speaking and listening and
writing. They learn to make meaning of texts that they read, view and
discuss.
1
The outcomes approach

In Papua New Guinea, the Lower Secondary and Upper Secondary
syllabuses use an outcomes approach. The major change in the curriculum
is the shift to what students know and can do at the end of a learning period,
rather than a focus on what the teacher intends to teach.
An outcomes approach identifies the knowledge, skills, attitudes and values
that all students should achieve or demonstrate at a particular grade in a
particular subject (the learning outcomes). The teacher is responsible for
identifying, selecting and using the most appropriate teaching methods and
resources to achieve these learning outcomes.
Imagine the student is on a learning journey, heading to a destination. The
destination is the learning outcome that is described in the syllabus
document. The learning experiences leading to the learning outcome are to
be determined by the teacher. The teacher uses curriculum materials, such
as syllabus documents and teacher guides, as well as textbooks or
electronic media and assessment guidelines, to plan activities that will assist
students achieve the learning outcomes.
The outcomes approach has two purposes. They are:
• to equip all students with knowledge, understandings, skills, attitudes
and values needed for future success
• to implement programs and opportunities that maximise learning.
Three assumptions of outcomes-based education are:
• all students can learn and succeed (but not on the same day or in the
same way)
• success breeds further success
• schools can make a difference.
The four principles of the outcomes approach in Papua New Guinea are:
1. Clarity of focus through learning outcomes
This means that everything teachers do must be clearly focused on what
they want students to be able to do successfully. For this to happen, the
learning outcomes should be clearly expressed. If students are expected
to learn something, teachers must tell them what it is, and create
appropriate opportunities for them to learn it and demonstrate their
learning.
2. High expectations of all students
This means that teachers reject comparative forms of assessment and
embrace criterion-referenced approaches. The principle of high
expectations is about insisting that work be at a very high standard
before it is accepted as completed, while giving students the time and
support they need to reach this standard. At the same time students
begin to realise that they are capable of far more than before and this
challenges them to aim even higher.
3. Expanded opportunities to learn
This is based on the idea that not all students can learn the same thing in
the same way in the same time. Some achieve the learning outcomes
sooner and others later. However, most students can achieve high
standards if they are given appropriate opportunities. Traditional ways of
2
organising schools do not make it easy for teachers to provide expanded

opportunities for all students.
4. Planning and programming by designing down
This means that the starting point for planning, programming and
assessing must be the learning outcomesthe desired end results. All
decisions on inputs and outputs are then traced back from the learning
outcomes. The achievement of the outcome is demonstrated by the
skills, knowledge and attitudes gained by the student. The syllabuses
and/or teacher guides describe some ways in which students can
demonstrate the achievement of learning outcomes.
Outcomes-based approach
1 What is it that students
Evaluation and need to know and Outcomes
feedback be able to do?
4 What are the most 2 What is the best way to find

appropriate strategies to use out if the students have
in teaching the content? achieved the outcomes?
Assessment
Content
3 What are appropriate learning

strategies and activities for
assisting students to achieve
the outcomes?
Learning and
teaching activities
Learning outcomes provide teachers with a much clearer focus on what

students should learn. They also give teachers greater flexibility to decide
what is the most appropriate way of achieving the learning outcomes and
meeting the needs of their students by developing programs to suit local
content and involve the community.
The outcomes approach promotes greater accountability in terms of student
achievement because the learning outcomes for each grade are public
knowledgeavailable to teachers, students, parents and the community. It
is not the hours of instruction, buildings, equipment or support services that
are the most important aspect of the education process but rather, what
students know and can do, as they progress through each grade.
The outcomes approach means that learning
• has a clearer purpose
• is more interactivebetween teacher and students, between students
• has a greater local context than before
• is more closely monitored and acted upon by the teacher
• uses the teacher as a facilitator of learning as well as an imparter of
knowledge.
3
Learning outcomes
The syllabus learning outcomes describe what students know and can do at
the end of Grade 12. The level of achievement of the learning outcome
should improve during the two years of Upper Secondary study, and it is at
the end of the study that students are given a summative assessment on the
level of achievement of the learning outcome.
The learning outcomes for Language and Literature are listed below.
General outcomes
The following outcomes are expected to drive the range of activities chosen
to achieve the subject specific outcomes detailed below. By the end of
Grade 12, students will be:
• proactive and self-directing
• effective communicators
• effective collaborators
• analysers and problem solvers
• ethical citizens.
Language and Literature learning outcomes
Students can:
1. use conventions of the English language across a variety of genres for
different purposes and audiences
2. analyse language techniques, structures and conventions in order to
apply language purposely and effectively
3. compare and contrast a range of texts to identify themes,
characterisation, language use, literary styles and how these convey the
intent of the author
4. analyse and evaluate how texts (both oral and written) are culturally
constructed and can be manipulated to influence cultural perspectives
5. evaluate the techniques of media in influencing opinion on a range of
social and cultural issues
6. research and evaluate information from a range of sources
7. create imaginative and functional texts in a variety of literary, visual and
electronic forms and conventions.
4
Learning and teaching

You, as a teacher, must teach the knowledge that is included in the syllabus
documents. You have to be able, not only to teach what students should
know, but also to interpret that knowledge for students in a way that makes it
relevant to them, and enables them to begin to acquire skills of analysis and
problem solving, which will support learning and teaching. You also need to
give students some opportunities to apply their knowledge, to be creative
and to solve problems.
Learning and teaching strategies

Students who participate in guided instruction learn more than students who
are left to construct their own knowledge (Mayer 2004). You need to employ
a variety of teaching and learning approaches because all students do not
learn in the same way. The ‘auditory learner’ prefers to use listening as the
main way of learning new material whereas a ‘visual learner’ prefers to see
things written down. Students should be actively involved in their learning
and therefore you need to design appropriate practical activities or
experiments, using resources that can be found in your location.
In Grades 11 and 12, students will already have had a wide variety of
experiences. You need to make use of your students’ experiences when
designing and conducting learning in class, so that learning is connected to
your students’ world. To assist and encourage students to learn, you perform
certain tasks. These are referred to as ‘teaching strategies’. You need to
engage students directly in learning, but there are times when you have to
take charge of the learning in the class and teach particular concepts or
ideas. Teaching strategies include:
Listening
• play cassettes to students
• read aloud to students
• involve students in drama performances
• group discussions in class
• guest speakers
• interviews
• questioning
Speaking
• seminars and PowerPoint presentations
• dramatic performances
• class or group discussions
• impromptu speeches
• poetry recitals
• brainstorming
• sales pitch
• debates
5
Reading and viewing

• view a film, documentary or television show
• view a live, dramatic performance
• read a novel, short story or poetry
• read newspapers, reports and periodicals
Writing and visual creation

• write essays to inform and persuade
• write reports
• write short stories, poetry, song lyrics, drama scripts for performance
• create a storyboard for a documentary or film scene with accompanying
explanatory paragraphs
• draw or paint the images conjured by a poem or a key scene from a
novel with an accompanying rationale
• promotional kit for a product with accompanying rationale
• models and dioramas of stage settings, poems or novel scenes
The most efficient and long-lasting learning occurs when teachers
encourage the development of higher-order thinking and critical analysis
skills, which include applying, analysing, evaluation and creating. Attention
should also be paid to developing students’ affective and psychomotor skills.
To make sure that this occurs, you should encourage deep or rich, rather
than shallow, coverage of knowledge and understandings.
Developing Language and Literature skills

Students need to develop Language and Literature skills and techniques.
Skills development should happen as a part of students’ learning
experiences and the learning and practising of skills needs to take place in
the context of language and literature. Skills learning tend to be most
effective when:
• students go from the known to the unknown
• students understand why it is necessary to master specific skills
• skills are developed sequentially at increasing levels of difficulty
• students identify the components of the skill
• the whole skill and the components of the skills are demonstrated
• there are frequent opportunities for practice and immediate feedback
• the skills being taught are varied in terms of amount and type, according
to the needs of students
• the skill is used in a range of contexts.
What do students do in Language and Literature?
In Language and Literature, students acquire the following skills:
6
Listening and speaking

Through the learning and teaching strategies listed above, students learn to
become discerning listeners and articulate speakers who respond
appropriately to the context in which they find themselves.
Reading and viewing

Through reading a wide range of literature and viewing various types of
visual stimulus, students will broaden their language base, develop their
cultural understanding and knowledge of human experience and develop
enjoyment of literature for its own sake.
Writing and visual creation

Through writing, students crystallise their thoughts in order to communicate
their imagination, opinions and ideas for functional and creative purposes. At
the same time, writing skills are developed across a range of genres. Visual
representations of ideas translate imagination into tangible reality and allow
different forms of learning styles to be expressed. They develop the ability to
manipulate language for different purposes and different audiences.
Thinking
Students develop critical and creative thinking skills through the discussions
involved around the issues raised in the diverse range of texts encountered.
Teamwork
Students develop collaborative skills through activities such as drama
productions, class discussions, interviews and debates and by reading other
literature involving problem-solving strategies.
Referencing
Students develop the ability to acknowledge sources of information through
quotes, footnotes and bibliographies according to the Harvard system of
referencing.
Developing a program
A teaching program outlines the nature and sequence of teaching and
learning necessary for students to demonstrate the achievement of the
learning outcomes. The content of the syllabus describes the learning
context and the knowledge required for the demonstration of each outcome.
The relevant learning outcomes for each unit or topic are stated at the
beginning of the unit and the requirements of the outcomes are elaborated.
Teachers must develop programs that include appropriate learning activities
to enable students to develop the knowledge and skills identified in the
outcome statements.
The content prescribed in the units indicates the breadth and depth with
which topics should be treated. The sequence of teaching is prescribed by
the sequence of content. The learning outcomes and assessment, however,
must be central to the planning of the teaching program.
7
Planning and programming units
The main purpose of planning and programming is to help you to arrange

the presentation of the unit in an organised manner. This will help you to
know what to teach and when to teach it. It is strongly recommended that
you make plans with the other teachers who teach the same subject. By
planning together, you will all have better lessons and make better use of
your limited resources.
Points to consider when programming

• Which outcomes are students working towards?
• What is the purpose of this unit or topic or learning experience?
• Which learning experiences will assist students to develop their
knowledge and understandings, skills, and values and attitudes in the
subject?
• What are the indicators of student learning that you would expect to
observe?
• How can the learning experiences be sequenced?
• How do the learning experiences in the unit relate to students’ existing
knowledge and skills?
• How are individual learning needs to be catered for?
• What are the literacy demands of this unit or learning experience?
• What authentic links can be made with the content of other subjects?
• How can school events and practices be incorporated into the program?
• Do the assessment methods address the outcomes and enhance the
learning?
• How can the assessment be part of the learning and teaching program?
The planning process

In this teacher guide, ideas for learning and teaching activities and
assessment tasks have been provided to help you teach the units. To plan a
unit, these steps follow the thinking processes involved in the outcomes
approach.
Step 1: Interpreting the learning outcomes
The first step is to read the description in the syllabus and then study the
learning outcomes and what students do to achieve the learning outcome, to
determine what students will know and be able to do by the end of the unit.
You need to look at the action verb, concept and context of each learning
outcome. This will help you see what skills and knowledge are embedded in
the outcome.
Step 2: Planning for assessment
It is necessary to plan for assessment early to ensure that you teach the
content and skills students need to achieve the learning outcomes. You will
have to decide when to schedule assessment tasks to allow yourself time to
teach the required content and time for students to develop the necessary
skills. You will also need time to mark the task and provide feedback.
Practical tasks may, for example, be broken into a series of stages that are
marked over several weeks as students progress with making their product.
It is not appropriate to leave all assessment until the end of the unit.
8
This teacher guide provides performance standards and examples of a

marking guide. You should develop marking guides when you are marking
tasks to ensure consistency of in your assessment. You must also develop
clear and detailed instructions for completing the task and make sure all
students know exactly what they have to do.
Step 3: Programming a learning sequence
This step requires you to develop a program outlining a sequence of topics
and the amount of time spent on each topic. If the unit involves a project, for
example, you may plan to teach some theory at appropriate stages during
the project, rather than teaching all theory before students start the project.
To develop your program you need to study the topics listed in the syllabus
and to think about the learning activities that will best provide students with
the opportunity to learn the content and practise the appropriate skills, and
how long the activities will take. You will have to think about some major
activities that last several weeks and smaller activities that may be
completed in a single lesson.
Step 4: Elaboration of activities and content
Once you have mapped out your program for the term, you must then
develop more detailed plans for each topic in the unit. All units require
students to be actively engaged in learning, not just copying from the board.
Make sure you develop a range of activities that suit all learning
needssome reading and writing, some speaking and listening, some
observing and doing. Browse through the textbooks and teaching resources
you have access to and list chapters, pages or items that you will use for
each topic in your program. The textbooks should also provide you with
ideas for activities related to the topic. You may have to collect or develop
some resources for yourself. Once you have sorted out your ideas and
information, you can then develop your more detailed weekly program and
daily lesson plans.
This teacher guide gives some suggested learning and teaching activities for
each unit and some suggested assessment tasks, which you might like to
use to ensure active learning. It also gives background information on some
of the content.
Using the internet for classroom activities
Planning
• Where appropriate, incorporate computer sessions as part of planned
learning experiences.
• Be aware that computers can be time-consuming and may require extra
teacher support at unexpected times.
• Consider methods of troubleshooting, such as having students with
computer expertise designated as computer assistants.
• Design activities that provide the opportunity for students to access,
compare and evaluate information from different sources.
• Check protocols, procedures and policies of your school and system
regarding the use of the internet.
Managing
• Ensure that all students have the opportunity to explore and familiarise
themselves with the technologies, navigation tools, e-mail facilities and
9
texts on the internet. It is likely that students have varying degrees of

expertise in searching for information and navigating the internet.
Students also have varying experiences and familiarity with the way texts
are presented on the World Wide Web.
• Ensure that all students have an understanding of how to access the
Internet and how to perform basic functions, such as searching, sending
and receiving e-mail.
• Students with more experience in using the internet may have
information that will benefit the whole class. Provide opportunities for
students to share their experiences, interests, information and
understandings. As well as planning lessons to instruct students in these
skills, pairing students and peer tutoring on the computer can enable
more experienced students to assist other students.
• Ensure that students critically analyse language and literature
information gathered on the internet just as they would for any other text.
They should be aware that material posted on the Web is not necessarily
subject to the conventional editorial checks and processes generally
applied to print-based publications. When evaluating information,
students might consider:
− the intended audience of the site
− bias in the presentation of information, or in the information itself,
including commercial or political motives
− accuracy of information
− balanced points of view
− currency of information, including publishing dates
− authority of source or author (institution, private individual)
− ownership of the website (such as corporate, small business,
government authority, academic
− cultural or gender stereotyping.
• Ensure that software and hardware (computer, modem) are maintained
in good working order.
• Ensure that all students are given equal opportunities to use the
computer.
Assessing student work containing material from the internet

• Students can download large quantities of information from the internet.
By itself, this information provides very little evidence of student effort or
student achievement. Students must make judgements about the validity
and safety of information when working from the World Wide Web. They
must consider the purpose of the text, identify bias and consider the
validity of arguments presented and the nature and quality of the
evidence provided.
• When assessing student work that includes material drawn from the
internet, it is important to recognise how students have accessed the
information, what value they place on it and how they have used it for the
particular unit being studied in class. It is useful to look for evidence of
critical evaluation, and the development of students’ capacities to
access, manipulate, create, restore and retrieve information.
10
Language and Literature requirements

There are four units in Grade 11, which all students must complete. There
are three units in Grade 12, which all students must complete. There are
also assessment tasks.
Language and Literature requirements
Grade Weeks Term Unit Essential resources for activities

and assessment
11 1–10 1 Journeys and Quests: Part 1 Library or internet references

Novel
Short story
11 11–20 2 Journeys and Quests: Part 2 Drama

Film or singsing
11 21–30 3 Cultural Contexts: Part 1 Library or internet references
Documentary
Novel
11 31–40 4 Cultural Contexts: Part 2 Drama
Film or singsing
Poetry
12 1–10 1 Life Stories: Part 1 Library or internet references
Autobiographical documentary (‘biodoc’)
Biography
12 11–20 2 Life Stories: Part 2 Biographical drama
Autobiography
Biographical film (‘biopic’)
12 21–30 3 Writers’ Workshop Speech scripts
Sermon scripts
Newspaper articles, editorials, letters
Government or NGO reports
11
Assessing Language and Literature

Assessment is an important part of learning and teaching. It is used to:
• evaluate and improve learning and teaching
• report achievement
• provide feedback to students on their progress
• provide feedback to stakeholders.
Criterion-referenced assessment
Assessment in Language and Literature is criterion-referenced and

measures students’ achievement of the learning outcomes described in the
syllabus. In criterion-referenced assessment, particular knowledge, skills or
abilities are specified as criteria that must be achieved. The extent to which
they are achieved is assessed and facilitated by the teacher. Criterion-
referenced assessment often takes on a problem-centred orientation, rather
than a knowledge-based orientation.
To achieve an outcome means having to demonstrate the attainment of
skills and attitudes, not just write about them. Assessment then becomes
more than just a means of judging knowledge and performance—it becomes
an integral part of the learning process itself. Criterion-referenced
assessment is:
• standards or criterion-referenced; that is, outcomes are judged against
pre-defined standards (see table on the next page)
• direct and authentic, related directly to the learning situation. This has
the potential for motivating learning, since students can see a direct
relevance between what is learnt and what is assessed.
Norm-referenced assessment
‘Norm-referenced assessment’ makes judgements on how well the student
did in relation to others who took the test. It is often used in conjunction with
a curve of ‘normal distribution’, which assumes that a few will do
exceptionally well and a few will do badly and the majority will peak in the
middle, normally judged as average.
Example of a criterion-referenced test

The driving test is the classic example of a criterion-referenced test. The
examiner has a list of criteria, each of which must be satisfactorily
demonstrated in order to pass; for example, completing a three-point turn
without hitting either kerb. The important thing is that failure in one criterion
cannot be compensated for by above-average performance in others; nor
can a student fail in spite of meeting every criterion (as they can in norm-
referenced assessment) simply because everybody else that day surpassed
the criteria and was better than him or her.
Criterion-referenced assessment has the following characteristics:
• a syllabus that describes what students are expected to learn in terms of
aims, outcomes and content
12
• a syllabus that provides a clear sense of the syllabus standards through

its aims, outcomes and content
• tasks designed to produce an image of what students have achieved at
that point in the learning and teaching process relative to the outcomes
• standards of performance at different levels: the ‘performance standards’
• a report that gives marks referenced to predetermined standards
• assessment tasks that refer to syllabus outcomes, content, assessment
components and component weightings
• external examinations that are based on syllabus outcomes and content.
External markers use standards-referenced marking guidelines
developed by the Language and Literature Examination Committee.
• assessment that is better-integrated with learning and teaching.
Learning outcomes performance standards for Language and Literature
Learning Very high High Satisfactory Low Below

outcomes achievement achievement achievement achievement minimum
standard
1. Use Language is clear, Clear, varied and Language is Language is only Language is
conventions of the varied and precise, precise language, generally clear sometimes clear rarely clear
English language concise and appropriate to the and coherent and coherent and coherent
across a variety of appropriate to the occasion, with no with only a few with some with many
genres for occasion, with no significant lapses significant degree of clarity lapses in
different purposes significant lapses in in grammar and lapses in and coherence grammar and
and audiences grammar and expression grammar and expression
expression, and expression with
precise use of wide inaccurate or
vocabulary and inappropriate
varied grammatical choice of
structures vocabulary
2. Analyse Excellent control of Good control of Control of Partial control of Partial control
language language for a range language for a language for a language with of language
techniques, of purposes and range of purposes range of limited and
structures and audiences and and audiences purposes and understanding expresses
conventions in expresses ideas with and expresses audiences and of purposes and ideas with
order to apply a high degree of ideas with clarity expresses ideas audiences and very little
language clarity and coherence and coherence with some expresses ideas clarity and
purposely and clarity and with little clarity coherence
effectively coherence and coherence
3. Compare and Responds to texts Responds critically Responds Responds to Understands
contrast a range critically with a high to texts with critically to texts texts with simple and
of texts to identify degree of insight and insight and with some occasional concrete
themes, justifies viewpoint justifies viewpoint insight and insight and ideas and
characterisation, through well- through justifies shows some paraphrases
language use, structured, logical structured, logical viewpoint capacity to parts of the
literary styles and argument and highly argument and through justify and tex
how these convey effective use of effective use of structured support
the intent of the textual references textual references argument and viewpoint
author some use of
textual
references
13
Learning Very high High Satisfactory Low Below

outcomes achievement achievement achievement achievement minimum
standard
4. Analyse and Demonstrates Demonstrates Demonstrates Demonstrates Demonstrates

evaluate how excellent good appreciation appreciation of some little
texts (both oral appreciation of the of the cultural the cultural appreciation of appreciation
and written) are cultural setting and setting and setting and the cultural of cultural
culturally perspectives relevant perspectives perspectives setting and setting and
constructed and to the assignment, relevant to the relevant to the perspectives perspectives
can be where appropriate assignment, assignment, relevant to the relevant to
manipulated to where appropriate where assignment, assignment,
influence cultural appropriate where where
perspectives appropriate appropriate
5. Evaluate the Responds to media Responds critically Responds Responds to Understands
techniques of texts critically with a to media texts critically to media texts with simple and
media in high degree of with insightinto media texts with occasional concrete
influencing insight into the ways the ways visual some insight insight into the ideas
opinion on a visual images, sound images, sound into theways ways visual projected by
range of social and scripts are used and scripts are visual images, images, sound media texts
and cultural issues used sound and and scripts are
scripts are used used
6. Research and Researches and Researches and Researches and Researches and Researches
evaluate synthesises material synthesises a partially retells ideas and
information from from a wide range of range of material synthesises synthesises
a range of sources sources in a complex successfully and material from a material with
manner and acknowledges few sources and guidance
accurately sources acknowledges
acknowledges these sources
sources
7. Create Demonstrates Demonstrates Demonstrates Demonstrates Unable to
imaginative and exceptional creativity creativity and some creativity occasional demonstrate
functional texts in and originality originality and originality creativity and creativity and
a variety of originality originality
literary, visual and
electronic forms
and conventions
Assessment for learning
Assessment for learning is often called ‘formative assessment’ and is

assessment that gathers data and evidence about student learning during
the learning process. It enables you to see where students are having
problems and to give immediate feedback, which will help your students
learn better. It also helps you plan your program to make student learning,
and your teaching, more effective. Often it is informal—students can mark
their own work or their friend’s. An example is a quick class quiz to see if
students remember the important points of the previous lesson.
Assessment of learning
Assessment of learning is often called ‘summative assessment’. Summative

assessment is used to obtain evidence and data that shows how much
learning has occurred, usually at the end of the term or unit. End-of-year
examinations are examples of summative assessment. It is usually done for
formal recording and reporting purposes.
14
Assessing Language and Literature units
In Language and Literature the learning outcomes are assessed using the
range of assessment methods specified in the syllabus, in the table of
components, weightings and tasks.
In deciding what to assess, the starting point is ‘what do you want students
to do and/or learn?’ and following from this: ‘how will the students engage
with the material?’, which in turn leads to the design and development of
learning tasks and activities. It is crucial that at this point the assessment
tasks clearly link back to the learning outcomes and are appropriate for the
learning activities. The assessment can be used for formative and
summative purposes. Assessment can be represented as follows:
The assessment process

What do you want
students to learn?
Learning
outcomes
Assessment Learning
activities activities
How will you, or they, How will students

know the learning and achieve this?
teaching interaction
has been effective?
Once it is clear what needs to be assessed and why, then the form the
assessment will take needs to be determined. There are many types of
assessment tasks that can be implemented; the factors that will determine
choices include:
• the students—how many are there, what is expected of them, how long
will the assessment task take?
• the learning outcomes of the subject and how they might be best
achieved.
During the year you must set assessment tasks that ensure that all the
learning outcomes of the subject have been assessed internally. Each task
you set must include assessment criteria that provide clear guidelines to
students as to how, and to what extent, the achievement of the learning
outcomes may be demonstrated. Marking guides and assessment criteria
help you with the marking process and ensure that your assessment is
consistent across classes. It is important that marking guides and
assessment criteria are collectively developed.
Students must complete the assessment tasks set. Each task must provide
clear guidelines to students for how the task will be completed and how the
criteria will be applied. When you set a task, make sure that:
• the requirements of the task are made as clear as possible to the student
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• the assessment criteria and performance standards or marking guides

are provided to students so that they know what it is that they have to do
• sources or stimulus material used are clear and appropriate to the task
• instructions are clear and concise
• the language level is appropriate for the grade
• it does not contain gender, cultural or any other bias
• materials and equipment needed are available to students
• adequate time is allowed for completion of the task.
Assessment methods
Although assessment components and weightings are stipulated in the

syllabus, you decide which assessment method to use when assessing the
learning outcomes. Use a variety of assessment methods to suit the purpose
of the assessment. Assessment can be classified into four categories:
• tests
• product or project assessments
• performance assessments
• process skills assessments
Because each has limitations, maintaining a balance of assessment
methods is very important.
Tests
A ‘test’ is a formal and structured assessment of student achievement and
progress, which the teacher administers to the class. Tests are an important
aspect of the teaching and learning process if they are integrated into the
regular class routine and not treated merely as a summative strategy. Tests
allow students to monitor their progress and provide valuable information for
you in planning further teaching and learning activities.
Tests will assist student learning if they are clearly linked to the outcomes.
Evidence has shown that several short tests are more effective for student
progress than one long test. It is extremely important that tests are marked
and that students are given feedback on their performance.
There are many different types of tests. Tests should be designed to find out
what students know, and also to find out about the development of their
thinking processes and skills. Open questions provide more detailed
information about achievement than a question to which there is only one
answer.
Principles of designing classroom tests

Tests allow a wide variety of ways for students to demonstrate what they
know and can do. Therefore:
• students need to understand the purpose and value of the test
• the test must assess intended outcomes
• clear directions must be given for each section of the test
• the questions should vary from simple to complex
• marks should be awarded for each section
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• the question types (true or false, fill-in-the-blank, multiple-choice,

extended response, short answer, matching) should be varied.
Tests should:
• be easy to read (and have space between questions to facilitate reading
and writing)
• reflect an appropriate reading level
• involve a variety of tasks
• make allowance for students with special needs
• give students some choice in the questions they select
• vary the levels of questions to include gathering, processing and
applying information
• provide enough time for all students to finish.
Assignments
‘Assignments’ are unsupervised pieces of work that often combine formative
and summative assessment tasks. They form a major component of
continuous assessment in which more than one assessment item is
completed within the term. Any of the methods of assessment can be set as
assignments, although restrictions in format, such as word limits and due
dates, are often put on the assessment task to make them more practical.
Investigation
An ‘investigation’ involves students in a study of an issue or a problem.
Teachers may guide students through their study of the issue; or individual
students, or groups of students, may choose and develop an issue in
consultation with the teacher. This assessment component emphasises the
student’s investigation of the issue in its context, by collecting, analysing,
and commenting on secondary data and information. Students should be
encouraged to consider and explore a variety of perspectives as they
develop and state their position on the issue. Students may present the
investigation for assessment in a variety of forms, including one or a
combination of the following: a written report, an oral presentation, a
website, linked documents, multimedia, a video or audio recording.
Criteria for judging performance

The student’s performance in the investigation will be judged by the extent to
which the student:
• identifies and describes the issue or problem
• describes and explains the causes and effects
• critically analyses information and outlines possible steps leading to a
solution or recommendation.
Portfolios
Portfolios provide evidence for judgments of student achievement in a range
of contexts. Portfolios contain a specific collection of student work or
evidence. This collection of work should provide a fair, valid and informative
picture of the student’s accomplishments.
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Computer-based tasks
Using computers to administer student assessment can provide flexibility in
the time, location or even the questions being asked of students. The most
common type of computer-based assessment is based on multiple-choice
questions, which can assist teachers to manage large volumes of marking
and feedback.
Performance or presentation assessments

The ‘presentation’ provides opportunities for students to develop skills and
confidence when presenting to an audience. When presentations are used
for assessment purposes, how the students present is as important as what
they present.
Performances and presentations can be formal or informal. Class or group
performances must be timed and the purpose clearly defined. All participants
have a task to perform. However, as part of teaching and learning or
formative assessment, all members should have an opportunity to perform
different roles throughout the year. Group presentations can be shared
among members, to allow all members a turn at talking or performing.
Group and individual oral presentations and performances can be very time–
consuming, both in their use of valuable lesson time and in marking. Too
often these presentations are repetitive and boring, with the rest of the class
not actively involved in listening and responding to the presentations.
The best approach is to allocate topics or allow students to choose from a
variety of topics, to develop clear criteria for presentations, and to require the
rest of the class (audience) to take notes, identify key points or write an
evaluation to enhance their learning.
‘Spotlighting’ uses individual student checklists. This method can be used to
focus on a few selected aspects of student performance or outcomes; for
example, when assessing student performances in drama or music. It is best
to focus on five to six students at a time, systematically working through the
class over time. ‘Focused questioning’ is a technique often used in
conjunction with spotlighting. With focused questioning, teachers can gain a
deeper awareness as to whether or not students understand the concepts or
skills being taught.
Process skills assessments

This method of the assessment component, the ‘process skills assessment’,
involves assessing students’ understanding of concepts based on the
practical skills that can be used, the evaluation of work done, and/or the
reporting of information. These skills include, for example:
• interpretation skills
• evaluation skills
• reflection skills
• communication skills (such as writing, speaking and listening).
Types of assessment tasks
Using different assessment tasks is the way to make sure that students are
able to demonstrate the range of their abilities in different contexts. Each
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category has advantages in assessing different learning outcomes. For

example, a selected response assessment task, such as a series of multiple-
choice questions, is able to assess all areas of mastery of knowledge, but
only some kinds of reasoning.
Assessment ideas for individual students or groups
Tests Products or Performances Process skills

projects
Essay Ads Announcements Anecdotal records

Multiple-choice Advice columns Ballads Checklist observations for
processes
Matching Artefacts Campaign speeches Concept mapping
Short answer Audiocassettes Character sketches Conferences: teacher and
peer
True or false Autobiographies Commercials Debriefing interviews
Book critiques Conferences Debriefing questioning for
lesson closure
Novels Cooperative learning group Experiences checklists
activities
Brochures Debates Interactional analyses
Case studies Demonstrations Interviews
Collages Discussions Invented dialogues
Computer creations Dramatic monologue Journal entries regarding
processes
Costumes of Drama performance Learning logs
characters
Diaries of historical Explanations Metaphor analyses
periods
Displays Excursions Observations
Drawings Book critique Oral questioning
Play scripts Interviews Process-folios
Charts, diagrams Introductions Question production
Handbooks Jingles Responses to reading
Essays Job interviews Retelling in own words
Job applications News reports Tailored responses
Job descriptions Oral histories of events Telling how they did
something and justifying the
approach
Journals Oral presentations

Letters to editor, TV Reports
station or business
Models Role plays
Movie critiques Sales pitches
Newspapers Skits
Pamphlets Song writing to fit a topic
Peer editing critiques Speeches
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PowerPoint Spoofs
presentations
Photographs Storytelling
Portfolios Trial scenes: justifying
actions
Posters TV talk shows
Product descriptions Verbal comparisons

and promotions
Projects Warnings
Proposals
Protest letters
Questionnaires
Research papers
Poetry
Resumes
Critiques of TV
programs
Short stories
Soap opera parodies
Story illustrations
Travel brochure
Videotapes
Work products
Feedback
When you assess the task, remember that feedback will help the student
understand why he or she received the result and how to do better next time.
Feedback should be:
• constructive, so that students feel encouraged and motivated to improve
• timely, so that students can use it for subsequent learning
• prompt, so that students can remember what they did and thought at the
time
• focused on achievement, not effort. The work should be assessed, not
the student
• specific to the unit learning outcomes, so that assessment is clearly
linked to learning.
Types of feedback
Feedback can be:
• informal or indirect—such as verbal feedback in the classroom to the
whole class, or person to person
• formal or direct—in writing, such as checklists or written commentary to
individual students, in either written or verbal form
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• formative—given during the topic with the purpose of helping the

students know how to improve
• summative—given at the end of the topic with the purpose of letting the
students know what they have achieved.
Who assesses?
Teacher assessment
Assessment is a continuous process. You should:
• always ask questions that are relevant to the outcomes and content
• use frequent formative tests or quizzes
• check understanding of the previous lesson at the beginning of the next
lesson, through questions or a short quiz
• constantly mark or check the students’ written exercises, class tests,
homework activities and so on
• use appropriate assessment methods to assess the tasks.
Frequency of assessment
You should schedule the specified assessment tasks to fit in with the
teaching of the content of the unit that is being assessed. Some assessment
tasks might be programmed to be undertaken early in the unit, others at the
end of the unit. You should take care not to overload classes with
assessment tasks at the end of the term.
Judging student performance

Student achievement is recorded and reported against standards. You must
use performance standards or marking guides, examples of which are
provided in this teacher guide, when making a decision about the
achievement of your students in relation to the learning outcomes. The
performance standards describe the level at which the student has to be
working to achieve a particular standard or mark.
Students should always have access to a copy of the assessment criteria
and the performance standards, so that they know what it is they have to
know and be able to do to get a good mark in a particular task. The
performance standards will help you in your marking and will help your
students improve their performance in the future. They are useful when
providing feedback to students, as they explain what it is the student needs
to do to improve.
Moderation
To make sure that you are interpreting the performance standards correctly
when assessing your students, it is important to undertake Language and
Literature moderation of student work within your school and with teachers of
nearby schools.
To moderate student work, a common assessment task must be used and a
marking scheme developed so that all students complete the same task
under the same conditions, and all teachers use the same marking scheme.
Teachers can then compare (moderate) the students’ work and come to a
common understanding of the performance standards and the requirements
for a particular mark or level of achievement.
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Moderation enables you to be sure that your understanding of the required

standards for levels of achievement is similar to the understanding of other
teachers and that you are assessing students at the appropriate level.
Self-assessment and peer assessment

Self-assessment and peer assessment help students to understand more
about how to learn. Students should be provided with opportunities to
assess their own learning (self-assessment) and the learning of others (peer
assessment) according to set criteria.
Self-assessment and peer assessment:
• continue the learning cycle by making assessment part of learning
• show students their strengths and areas where they need to improve
• engage students actively in the assessment process
• enable students to be responsible for the learning
• help to build self-esteem through a realistic view of their abilities
• help students understand the assessment criteria and performance
standards.
Managing assessment tasks for Language and Literature
Usually, the marking of assessment tasks is done by the teacher. To reduce

the amount of work it is necessary to develop a strategic approach to
assessment and develop efficiencies in marking.
In Language and Literature there are some assessment tasks that may be
new to teachers and students. Below are suggestions on how to manage
some of these tasks to minimise marking or presentation time.
Develop efficiency in marking
Clarify assessment criteria

Plan the assessment task carefully, and make sure that all students are
informed of the criteria before they begin. Discuss the task and its criteria in
class, giving examples of what is required. Distribute a written copy of the
instructions and the criteria, or put them on the board. Making the
assessment criteria explicit speeds marking and simplifies feedback.
Supply guidelines on what is required for the task

Supplying guidelines reduces the amount of time wasted evaluating student
work that is irrelevant.
Use attachment sheets such as marking guides

An assignment attachment sheet, which is returned with the assessed work,
rates aspects of the task with a brief comment. Such a system enables each
student’s work to be marked systematically and quickly. This strategy can be
applied to posters, presentations and performances.
Assess in class
Use class time to carry out and to assess tasks. Performances or art works,
marked by you or the students, enables instant developmental evaluation
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and feedback. Brief assessments of projects, stages of the design process,

or practical work take less time to mark and are useful because they give
immediate feedback to students on their progress and allow you to mark the
project in stages with minimum effort.
Feedback to the whole class

Feedback to the whole class can cut down on the amount of individual
feedback required. On returning assessed work, emphasise the criteria for
judging the work, discuss the characteristics of good and bad answers, and
highlight common strengths and weaknesses.
Set group-work alternatives

Assess one performance per group. The student’s mark is the group mark,
but may include a component based on the contribution of the individual. A
strategy for allocating an individual mark includes each member of the group
using criteria to evaluate the relative contributions of individuals, with the
marks averaged for the individual.
Set clear deadlines

Set aside a time for marking. Be careful about extending this period (by
allowing students to hand in work late).
Treat each task differently

Every piece of work need not be evaluated to the same degree; a mark need
not be the outcome in every case; and every piece of student work need not
contribute to the final grade. Assessment is designed to enhance the
teaching and learning experience for the teacher and the learner, not just to
give marks.
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Learning activities and assessment tasks

Examples of learning activities and assessment tasks for each of the
Language and Literature units are provided in the following sections. Some
examples are explained in detail.
Grade 11 units
11.1 Journeys and Quests: Part 1
Suggested activities
Definition and research

• use dictionaries to define the difference between a journey and a quest
• class discussion about the difference between a physical journey and a
spiritual or psychological journey
• group discussions about the difference between quests for personal
glory and quests for the common good
• impromptu speeches from students about people they know who have
embarked on a personal journey or quest, to class or small groups
• library or internet research of people who have engaged in notable
quests
• brief oral feedback from students on the person of their choice
• examine a report and take note of its generic features
• a lesson or two on how to write a bibliography using the Harvard system
Novel and/or short story

• read a novel involving a character(s) on a personal journey or quest
• read some short stories based on personal journeys or quests
• discuss the entertainment value of the novel achieved through its setting,
plot, characterisation, theme and literary style
• group discussion of the ethics involved in the journey or quest
• analyse how the ‘facts’ surrounding a person’s life have been changed
through the perspective of another person
• take notes and write paragraphs on various aspects of the novel
• read at least one example of a monologue and take note of its distinctive
features
Suggested assessment tasks
• Prepare an illustrated report on a person or group’s journey or quest

containing: a statement of purpose; an introduction; information (may be
grouped under headings or subheadings); an evaluation of the quest.
• Present a reflective monologue based on the novel.
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11.2 Journeys and Quests: Part 2
Drama
• read a play based on a person or group’s journey or quest
• whole-class discussion on the specific features of drama (stage setting,
dialogue, acts, scenes) as well as the roles of plot and characterisation in
conveying the playwright’s intentions
• students take notes relating to these aspects of drama
• view a DVD or stage performance of the script studied in class
• discuss the ethics of the journey and characters’ behaviour in the play
• discuss how the play is both philosophical and entertaining and write a
personal response
• write paragraphs evaluating the characters’ motivations and actions
Film
• brainstorm and mind map everything students know about film genres;
for example, fantasy, horror, comedy, thriller
• take notes on filming techniques, such as movement, composition,
colour and lighting, graphics, special effects, editing and sound track
• students create a 5-frame storyboard, demonstrating a variety of shots
with brief notes about shot styles and sound effects, for a scenario such
as a marriage proposal, a rescue or the final moments of a sports event
• make a labelled collage of magazine pictures to demonstrate filming
techniques
• draw a table to compare differences between elements of a literary text,
which uses words, and those of film, which largely relies on visual impact
• research some of the world’s great film festivals, such as Cannes,
Venice or the Russian film festival; or the origins of the Oscars
• discuss and model de Bono’s ‘Six thinking hats’ approach to analysing
and divide class into groups for applying this approach to a film viewing
• view a film about a journey or quest
• group feedback, based on their ‘Six thinking hats’ perspectives
• discuss the director’s apparent intentions in making the film, and the
different perspectives that may be held by male or female, Western or
Eastern or indigenous cultures, young or old or in different times
• model the structure and language of critiques, which are different from
reviews because they require analysis and evaluation
Singsing
• students share legends, songs or dances about journeys or quests,
select one and perform an item
• discuss the ethics of the presented item (basis of the composition and/or
attire worn; its significance in the culture and tradition of the people)
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• write a short story about your own journey or quest
• Write an extra scene for the play you have read, projecting the
characters sometime into their future. It must be a realistic scene linked
to the theme of journeys or quests, and reflecting the characters’ core
personalities. Perform it and explain why you constructed it in this way.
• Write an analytical and evaluative essay based on a film about journeys
and quests.
11.3 Cultural Contexts: Part 1
Introduction and research

• brainstorm the elements that make up cultural identity and build a web of
ideas on the board
• discuss the role of language in shaping our personal and cultural identity
• read some essays and media articles relating to language and culture
• group discussion on how colonialism has affected indigenous cultures
• view documentaries on how colonialism has affected indigenous cultures
• read some short texts from the past written about indigenous people by
non-indigenous people and analyse the language used to portray them
• discuss how language and selection of facts can be powerful tools for
shaping perspectives of peoples and nations, both in the past and in the
press today
Novel
• read a novel that clearly indicates cultural features and cultural conflict
• discuss the way in which cultural aspects are presented in the novel and
note these down
• group discussions on how culture represented in the novel has been
influenced over time and evaluate these changes
• analyse the effectiveness of the literary style used in the novel
• group discussion of the ethics that the characters portray in the novel
• take notes and write paragraphs on various aspects of the novel
• hold a lesson or two on how to cite and quote in an essay
• model the structure and language of an analytical essay
• Present an oral personal response to representation of cultural identity.
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• Write an analytical essay based on some major issues in the novel.
11.4 Cultural Contexts: Part 2
Drama
• discuss the notion of culture and alternative definitions of culture such as
workplace culture, family culture, youth culture, sports cultures; define
and note down the elements that make up these cultures
• read a play that reflects cultural change
• view a DVD or stage performance of the script studied in class
• whole-class discussion on the nature of the conflict between the play’s
characters and the ethics of their behaviour
• write paragraphs evaluating the characters’ motivations and actions
• discuss and evaluate the impact of the language used in the play
• draw or create a diorama of the stage setting with a written explanation
of intentions
Film
• revise filming techniques
• revise de Bono’s ‘Six thinking hats’ approach in relation to film analysis
and divide students into analysis groups
• view a film from any time period, which involves cultural conflict
• group feedback based on their ‘Six hats’ perspectives and note taking
• discuss characterisation in more detail and the motivation and ethics of
the characters’ behaviour
• discuss the director’s apparent intentions in making the film; discuss the
different perspectives that may be held by male or female, Western or
Eastern or indigenous cultures, young or old or in different times
• model the structure and language of comparative essays
Singsing
• perform a traditional dance or song
• whole-class discussion on the specific features of the item performed
(traditional attire, colours used, painting of designs or tattoos)
• discuss the ethics of the presented item (who composed the song or
dance; its significance in the culture and tradition of the people) and write
a personal response
• discuss how culture should be preserved and debate why such culture
should be preserved
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Poetry
• discuss and take notes on the ways poets use figurative language
(metaphor, simile, personification, alliteration, assonance,
onomatopoeia) and other techniques, such as rhyme and rhythm, in
order to convey their ideas
• students read a selection of poetry that reflects cultural images or
behaviour
• students interpret the poems in their own words
• identify and analyse the messages conveyed in these poems and the
ways language is used to achieve this
• write down examples of the figurative language used and explain what
they mean, why the poet has used them, and evaluate their impact
• translate one of the poems into a visual image
• Select a scene from the play studied; rewrite and perform it in Tokples or
Tok Pisin to highlight the impact of the language used. Accompany this
with an explanation of the difference in impact between the English
version and the language chosen.
• Write a comparative essay to analyse the difference between film and
drama as vehicles for conveying cultural and philosophical messages.
• Collect a portfolio of three poems and, in the form of one extended
essay, write a combined personal response to each of these.
Grade 12 units
12.1 Life Stories: Part 1
Documentaries
• brainstorm students’ knowledge of biographical texts
• discuss and evaluate the appeal of biographies in contrast to fictional
films, and the wide range of texts that celebrate people’s achievements
• discuss the purpose of biographical texts, documentaries in particular.
Extend the discussion to ‘biodocs’ (‘biodoc’ is an expression used to
refer to a biographical documentary)
• list the features that make a good documentary. What else might help
make a good ‘biodoc’?
• view Taking Pictures, a documentary about documentary making in
Papua New Guinea, and note the difference between controlled and
uncontrolled documentary footage. What are the advantages of each?
• view at least one biographical documentary
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• class discussion of target audiences and different perspectives that

would be gained by different cultural or gender groups
• research a famous person for various aspects of his or her life, such as
family background, early childhood and youth, education, life-changing
experience, personal and professional achievements, contribution to
humanity
• revisit filming techniques
• search the internet for models of storyboards
• model the construction of a storyboard, which is a blueprint for a film or
documentary. This is a series of pictures, each one accompanied by an
instructive paragraph relating to action, composition, sound and lighting,
which guides the camera operator
Biographies
• read aloud selected chapters in class
• spend a couple of lessons in the library or computer room researching
the subject of the autobiography or biography
• discuss the perspectives presented in the book and any ironies or
dramatic irony that may be present
• analyse ethical or philosophical issues touched on in the book and write
some related paragraphs
• compare and contrast the literary style of biographical writing with
fictional writing. Write some related paragraphs, considering purposes of
each text type
• discuss the book’s impact on different cultural groups
• view a DVD or documentary that may be based on the book
• revisit how to cite and quote in an essay
Biographical drama
• read a play based on the life of a person of note
• view a stage production or DVD of the play if possible
• research the background of the play’s main character and compare it to
facts presented in the play. How much is fact and how much is fiction?
• discuss and analyse the play for evidence of the playwright’s bias
• analyse the characters’ motivations and ethics and make notes
• examine the features of a dramatic monologue (these may be found on
the internet)
• Construct a storyboard for a documentary about a famous person, with

an accompanying rationale.
• Write an analytical essay on a biography, analysing the author’s
intentions and evaluating the effectiveness of the literary style.
• Develop an oral presentation, in the form of a dramatic monologue, in
which the student takes on the persona of one of the characters and
justifies their actions in the play.
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12.2 Life Stories: Part 2
Autobiography
• read aloud selected chapters in class
• brainstorm students’ knowledge of the context in which the
autobiography takes place; consider settings of time and place
• spend a couple of lessons in the library or computer room researching
the subject of the autobiography or biography
• discuss the perspectives presented in the book and any ironies or
dramatic irony that may be present
• analyse ethical or philosophical issues touched on in the book and write
some related paragraphs
• compare and contrast the literary style of biographical writing with
fictional writing. Write some related paragraphs, considering purposes of
each text type
• discuss the book’s impact on different cultural groups
• view a DVD or documentary that may be based on the book
Biographical film
This study focuses on how imagery and language has been used as a
vehicle for artistic expression, as well as to convey facts, and how that
expression is influenced by culture, time and viewer disposition. You should
try to link the texts in this unit together in some way.
• students will view, as a whole class, one film by a well-known director
• do a ‘Six thinking hats’ analysis of the film; draw up an overhead
transparency that outlines their conclusions
• analyse the ways in which the director develops the main theme(s) of the
film and projects his or her philosophy in the film through plot,
characterisation and filming techniques, as well as metaphors or symbols
and the language used in the script. Make notes of these
• students write some paragraphs about the motivations and ethics of the
main characters
• examine ways in which viewers are positioned through choice of
language and cinematography
• discuss how different viewers might have different perceptions of the film
• Write a short story based on the major point of interest or conflict in the
autobiography.
• An in-class extended writing test in the form of a film analysis.
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12.3 and 12.4 Writers’ Workshop
Issues and opinions: Persuasive writing

• read some texts that use persuasive techniques such as repetition,
emotive language, imagery, appealing to the senses, rhetorical
questions, statistics, referral to authority
• analyse the texts for their meaning and bias
• identify and evaluate the persuasive techniques used to create bias
• write some persuasive paragraphs applying these techniques
• analyse examples of print and electronic advertising for persuasive
techniques and evaluate their effectiveness
• read or listen to some famous speeches and identify persuasive
techniques
• research an issue and write an opinion about the issue, giving reasons
for your position
• revisit how to cite and quote in an essay
Creative and reflective writing

• demonstrate the difference between recount, which is the simple retelling
of facts, and creative storytelling, which builds on narrative using
description and dialogue
• issue students with pictures of people or an environment and ask them to
write descriptive paragraphs using strong adjectives and adverbs, vivid
choices of nouns and verbs, and similes, metaphors and powerful
imagery
• model ways of writing dialogue and point out the value of dialogue in
establishing names, relationships, situation and mood
• ask students to imagine two people involved in some sort of crisis; ask
students to develop and write at least four verbal exchanges between
these characters
• read examples of good short stories of around 1500 words or so and ask
students to identify and evaluate creative writing techniques used
• read a full memoir, or ‘memoir-style’ essays
• model the features of a memoir (these can be found on the internet)
• Students give an informed, persuasive speech on a researched issue

they feel strongly about.
• Transform a newspaper report into a creative short story, or vice versa.
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• Students write a memoir of their school days that contains some

philosophical insights into the values they think are important and
significant shaping influences in their lives.
Models of assessment tasks
Researched illustrated report

Imagine that Bird of Paradise Press has asked you to research a person or
group who has been involved in a quest for the greater good of humanity, for
a forthcoming book to be entitled ‘Noble causes’. This may be a factual or
legendary quest. Prepare an illustrated report on the person or group for
display in your classroom. It must contain a statement of purpose, an
introduction, information (which may be grouped under sub-headings) and a
conclusion. A bibliography is required.
Reflective monologue
Prepare and present a monologue based on the novel you have read.
Assume the identity of one of the novel’s main characters and, speaking in
the first person, talk about your dreams and aspirations, preparations for
your quest, the trials and tribulations you faced and the outcomes of your
quest. What did you contribute to the greater good of humanity? Would all
groups of people on the planet support your quest? Why or why not?
Poetry analysis and personal response

Compile a portfolio of three poems that convey the sense of a quest or
journey of self-discovery using strong poetic images. In an analytical essay,
interpret at least one of these poems, identify the quest or journey evident in
it and explain and evaluate the choice of language and poetic techniques
used. Explain what appeals to you about each poem. Would these poems
have the same impact on all groups of people? Why or why not?
Role play and explanation

You have just completed reading and discussing the play Educating Rita.
Write a script for a meeting between Rita and Frank ten years after his
departure for Australia. Your role play and language choice must clearly
demonstrate their personality or background, and reflect a development of
the themes. Act out this scene (in collaboration with classmates) using at
least one prop to enhance your characterisation. After the performance,
briefly explain to the class what this scene demonstrates about your chosen
character and what motivated you to write the scene in this way.
Comparative essay (unseen in-class essay)

Write a comparison of the cultural biases presented in the novel I Heard the
Owl Call My Name and the film Dances With Wolves. How are these cultural
biases achieved in each text? Discuss plot, setting, characterisation and the
specific production techniques of each text; for example, literary or
cinematographic.
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Analytical essay
You are to write a well-structured analytical essay on one of the following
topics, using evidence from the novel to support your views. Keep in mind
that Things Fall Apart is an important novel because it is written about Africa
by an African, and therefore is shaped by his cultural background.
Either
Achebe once said, ‘I would be quite satisfied if my novels did no more than teach my
(African) readers that their past—with all its imperfections—was not one long night of
savagery from which the Europeans, acting on God’s behalf, delivered them.’ To
what extent does Achebe succeed in doing this in his novel Things Fall Apart and
what other observations does he make about society and the individual through his
main characters?
or
One of Chinua Achebe’s purposes in writing Things Fall Apart was to ‘end Europe’s
imposition of a derogatory narrative upon Africa, a narrative designed to call African
humanity into question’. To what extent does Achebe succeed in presenting Africa in
a human and complex light through his portrayal of characters and traditional Igbo
society?
Biodocumentary storyboard
Research a famous person and create a storyboard for a documentary about
him or her. The storyboard must contain between 16 and 24 images with
accompanying instructions for the camera operator about action in the
scene, camera angles, length of shot, desired effect, lighting and
accompanying sound. The storyboard must be accompanied by a rationale
for your documentary (of about 650 words), which gives some idea of why
and how you are making this documentary, and a set of biographical details
that you intend to include in the documentary. The rationale should address
such questions as: Who is the intended audience for this documentary? How
have you constructed your view of the person through your selection of facts
and scenes and your manner of collecting them? Will all audiences hold the
same view of your subject? Why or why not?
Analytical essay
Write an analytical essay about the author’s purpose(s) in creating this text.
How did she or he represent certain characters, cultures and places in the
book and why? Discuss language use and literary style. Are we made to feel
sympathetic towards these people and places? Why or why not? Who would
be the target audience for this book? Would all groups of people have the
same reaction to the book? Why or why not?
Film analysis and evaluation

Write a well-structured critique of the film you have viewed. Use the following
questions as a guide: How has the director’s choice of plot, setting,
characterisation, theme(s) and cinematic techniques contributed to the
impression you get about the ‘subject’ of the film and the events and/or
people they are involved with? How do you account for the popularity of
biopics such as the one you have studied in class? To what extent and why
has the truth been manipulated in order to make them box-office draws?
33
Memoir and philosophy

Throughout this semester you have studied and researched many aspects of
society, reasons for social change, and the place of individuals within
society. You are to write a memoir of your life to date, discussing the values
that are important to you and the experiences and people who have
influenced you along the way into believing the things you hold dear.
Although this is a reflective essay, you may present it as an illustrated
booklet with photos, pictures or drawings in it. This is your life!
Analytical essay
You are to collect three to five magazine advertisements that have different
target audiences. In an essay, write an introduction about persuasion
techniques and then back this up with evidence from your advertisements.
Number each of your advertisements. In your essay, for each one, identify
the product and the intended target audience and discuss the techniques
used to persuade the reader to buy the product. Concentrate on such things
as the brand name, suggestions contained in the visual image, the slogans
and the extra information in small print. Discuss any promotional features
(famous people, competitions, free extras, and so on). Say how effective you
find each advertisement. Who would it appeal to and why?
Short story
Based on the input you have had in class, your task is to write a short story,
which provides a clear sense of characterisation and mood through
description and the use of poetic language, dialogue, narrative (action) or
thought patterns. Your short story should have no more than three
characters and the action should take place over a period of time no more
than three days. Beware of falling into a recount style of writing.
Transformation
You have just completed reading and discussing a novel. Working in groups,
you are to construct and perform a ‘This is your life’ show, based on a
character in the novel and other influential characters in his or her life. Your
presentation must clearly reveal how various people, places and events
have affected your chosen ‘subject’.
Examples of marking guides

Marking guides like the samples below should be used to assess the tasks
you set. These marking guides should be attached to students’ work in their
portfolios to indicate how and why the mark was allocated. You can tick the
appropriate box, look at the performance standards and the students’ overall
achievement and give an on-balance assessment.
The following samples are marked out of 25. If, for example, the student gets
two ticks in the ‘Very high achievement’ (VHA) column, most of their ticks in
the ‘High achievement’ (HA) column, several ticks in the ‘Satisfactory’
column and one tick in ‘Low achievement’, then, on balance you would give
them a ‘High achievement’ and award a mark consistent with the
achievement level table on page 38. (Tasks need not be out of 25.)
34
Cultural Contexts: Analytical essay
NAME__________________________________________________
DATE DUE:_____________________________________________
MODE: Written
GENRE: Literary comparative analytical exposition
TIME ALLOWED: 2 weeks
LENGTH: 800 words
VALUE: 25%
CONDITIONS: Students will work on this in class and at home
AUDIENCE: The general public
THE TASK: Analytical essay
You are to write a well-structured analytical essay on the following topic. Keep in mind that this is an important
novel because it is written about Papua by a Papuan and therefore is shaped by his cultural background.
One of Vincent Eri’s purposes in writing The Crocodile was to portray an authentic image of Papuan life
and the impact of colonialism and war from an insider’s perspective. To what extent does Eri succeed in
presenting his own culture in a human and complex light through his portrayal of characters and
traditional society and the disruption caused by outside influence?
Criteria VHA HA SA LA VLA
Thinking skills
Understanding of meaning and
purpose: responding correctly to task
including correct word length
Ability to respond critically and
analytically: amount of appropriate
supporting evidence from text
Writing skills
A command of the technical aspects of
language: spelling, grammar,
punctuation, vocabulary, syntax
Clarity and fluency: organisation of
ideas, topic sentences, cohesive ties
Control of appropriate medium:
paragraphing, layout; correct generic
format (introduction, body, conclusion)
Referencing skills
Effective use of research and
reference skills: integrating, citing,
quoting, referencing
This criteria sheet is a marking guide and should reflect the achievement level which is awarded. The overall
level will be awarded on the average lie of the ticks. Descriptors of each achievement level are as provided.
Plagiarism disclaimer
I certify that this essay is all my own work, with research sources acknowledged.
Signed:___________________________________________
35
Cultural Contexts: Researched oral presentation

NAME:
DATE DUE:
MODE: Oral
GENRE: Non-literary exposition
TIME ALLOWED: 2 weeks
LENGTH: 7 minutes
VALUE: 25%
CONDITIONS: Students will work on this both at home and in class
AUDIENCE: Peers
THE TASK: Oral presentation
You are to prepare and give an informative oral presentation on how a different culture has been represented
by the press, the electronic media or IT, either today or in the past. Consider the language, the images and
the selection of content used to create this impression. Support your comments with quotes and/or visual
images. Discuss who is or was the target audience, who is or was behind the creation of this impression and
what you think their reasons are or were. A bibliography is required. A script of the presentation must be
submitted on the day of presentation.
Thinking skills
Understanding of meaning, and purpose: you
presented the appropriate tasks and time asked for
Ability to respond critically and analytically: amount
and appropriate supporting evidence from texts
Speaking skills
A command of the technical aspects of language:
correct grammar, syntax, pronunciation, vocabulary
range
Clarity and fluency: organisation of ideas, topic
sentence, cohesive ties; audibility, diction and tone
Control of appropriate medium: stance, eye contact,

body language, facial gestures, palm cards
Appreciation of the construction and conventions of

text: formalised address, appropriate vocabulary,
integration of visual material
Referencing skills
Effective use of research and reference skills; that is,
acknowledging sources
This criteria sheet is a marking guide and should reflect the achievement level which is awarded. The overall
level will be awarded on the average lie of the ticks. Descriptors of each achievement level are as provided.
I certify that this essay is all my own work, with research sources acknowledged.
Signed: _________________________________
36
Drama study: Oral—dramatic monologue
NAME__________________________DATE DUE:______________________
MODE: Spoken
GENRE: Literary: transactional and expository
TIME ALLOWED: 2 weeks preparation
LENGTH: 7 minutes per person
VALUE: 25%
CONDITIONS: Students will work on this both at home and in class
AUDIENCE: Peer group
THE TASK: Present a dramatic monologue
Assume the persona of one of the characters in the biographical play you have just read, and present a
dramatic monologue in which you justify your actions. You may present it in the form of a practised speech
in court or to another important person, a reflection, a telephone conversation, a prayer, rehearsing a
letter or memoir, or any other creative way you can think of. It is not a speech to the audience!
Accompany this monologue with a rationale. Why did you choose this character? What were you trying to
demonstrate through your performance? What did you want your audience to think of your character?
Relate this to the main themes in the play and what you thought were the playwright’s intentions. Submit
both monologue and rationale scripts on the day of performance.
Thinking skills
Understanding of meaning, purpose and
context: responding correctly to task and
time limit
Ability to respond critically and analytically
to texts: amount of and appropriate
reference to events from text
Imagination and originality: level of
perceptions
Speaking skills
A command of the technical aspects of
language: grammar, vocabulary, syntax
Clarity and fluency: organisation of ideas,
audibility, diction and tone
Control of appropriate medium: body
language and stage movement, use of
props and/or costumes
A distinctive and confident style: eye
contact, non-reliance on notes
This criteria sheet is a marking guide and should reflect the achievement level which is awarded. The
overall level will be awarded on the average lie of the ticks. Descriptors of each achievement level are as
distributed.
I certify that this monologue and rationale are all my own work.
Signed: _______________________________________
37
Learning outcomes and levels of achievement
There are five levels of achievement:

1. very high achievement
2. high achievement
3. satisfactory achievement
4. low achievement
5. below minimum standard
Levels of achievement in Grade 11 and Grade 12 are recorded and reported
against the learning outcomes. The performance standards for the levels of
achievement are described in the table on pages 13 and 14.
Achievement levels
A very high achievement means overall that the student has an extensive
knowledge and understanding of the content and can readily apply this
knowledge. In addition, the student has achieved a very high level of
competence in the processes and skills and can apply these skills to new
situations.
A high achievement means overall that the student has a thorough
knowledge and understanding of the content and a high level of competence
in the processes and skills. In addition, the student is able to apply this
knowledge and these skills to most situations.
A satisfactory achievement means overall that the student has a sound
knowledge and understanding of the main areas of content and has
achieved an adequate level of competence in the processes and skills.
A low achievement means overall that the student has a basic knowledge
and some understanding of the content and has achieved a limited or very
limited level of competence in the processes and skills.
Below the minimum standard means that the student has provided
insufficient evidence to demonstrate achievement of the broad learning
outcomes.
Achievement level
Total Very high High Satisfactory Low Below

marks achievement achievement achievement achievement minimum
standard
600 540–600 420–539 300–419 120–299 0–119

500 450–500 350–449 250–349 100–249 0–99
400 360–400 280–359 200–279 80–199 0–79
300 270–300 210–269 150–209 60–149 0–59
200 180–200 140–179 100–139 40–99 0–39
100 90–100 70–89 50–69 20–49 0–19
60 54–60 42–53 30–41 12–29 0–11
50 45–50 35–44 25–34 10–24 0–9
40 36–40 28–35 20–27 8–19 0–7
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Recording and reporting

All schools must meet the requirements for maintaining and submitting
student records as specified in the Grade 12 Assessment, Examination and
Certification Handbook.
Recording and reporting student achievement

When recording and reporting student achievement you must record the
achievement of the students in each unit and then, at the end of the year,
make a final judgement about the overall achievement, or progress towards
achievement, of the broad learning outcomes. To help you do this,
descriptions of the levels of achievement of the learning outcomes are
provided in the Learning Outcome Performance Standards table. When
reporting to parents, the school will determine the method of recording and
reporting. In an outcomes-based system, student results should be reported
as levels of achievement rather than marks.
Remember that the final school-based mark will be statistically moderated
using the external exam results. The students’ overall level of achievement
may change.
Sample format for recording assessment task results over two years
The level of achievement of the learning outcomes is determined by the

students’ performance in the assessment tasks. Marks are given for each
assessment task with a total of 100 marks for each assessment period. The
marks show the students’ level of achievement in the unit, and therefore
progress towards achievement of the learning outcomes. Levels of
achievement in Grade 11 and Grade 12 are recorded and reported against
the learning outcomes.
Student name:
Grade 11 assessment task results
Unit Assessment task Mark Student mark
11.1 Illustrated report 40 These marks would be

the adjustment period
Reflective monologue 30
11.2 Play script and performance 30
Analytical essay 40
11.3 Oral response 30
Analytical essay 40
11.4 Language transformation and explanation 30
Comparative essay 30
Written personal response 30
Total marks Grade 11 300
39
Student name:
Grade 12 assessment task results
Unit Assessment task Marks Student mark
12.1 Storyboard 30
Analytical essay 40
Dramatic monologue 40
12.2 Short story 30
In-class writing test 30
12.3 Persuasive speech 40
Short story transformation 40
Memoir 50
Total marks Grade 12 300
Total marks Grades 11 and 12 600
Steps for awarding final student level of achievement
1. Assess unit tasks using unit performance standards and assessment

criteria.
2. Record results for each task in each unit.
3. Add marks to achieve a unit result and term result.
4. Add term marks to get a year result.
5. Determine the overall achievement using the achievement level grid.
6. Report results using the broad learning outcome performance standards.
The following is an example of reporting using the learning outcomes
performance standards descriptors.
Using the learning outcomes performance standards descriptors

Student Nepat Akkulaup
Subject Language and Literature
School-based assessment High achievement
This assessment means Nepat Akkulaup can:
Express herself using clear, varied and precise language, appropriate to the occasion, with no
significant lapses in grammar and expression
Use a good control of language for a range of purposes and audiences and express ideas with
clarity and coherence
Respond critically to texts with insight and justify viewpoint through structured, logical
argument and effective use of textual references
Demonstrate good appreciation of the cultural setting and perspectives relevant to the
assignment, where appropriate
Research and synthesise a range of material successfully and acknowledge sources
Demonstrate creativity and originality.
40
The example above shows that Nepat is a consistently high performer

across all outcomes. However, it is possible for her to achieve different
levels for some outcomes. For example, she may achieve very highly in
analytical work but may not necessarily achieve a very high level for creative
work. Likewise, she may have brilliant ideas but not necessarily have a very
high level of language skills. Therefore it is possible to have a report
containing different levels of achievement, despite the overall achievement
level, which is an average of overall performance.
41
Resources
Language and Literature becomes more interesting and meaningful when
you use a variety of resources and local materials in your teaching.
Types of Language and Literature resources
Materials and artefacts

• artefacts
• textbooks, reference books
• magazines
• diagrams, charts, posters
• worksheets, information sheets
• pamphlets, brochures
• television and radio broadcasts
• video, film, film strips
• audio recordings
• computer software
• pictures, photographs
• models
• newspapers
• made or found objects.
Natural and human resources

• guest speakers
• natural environment sites, such as rivers, beaches, rock pools, forests,
cliffs, caves
• craftspeople, musicians and artists
• community elders
• teachers
• parents
General guidelines for selecting and using resources
How effective a resource is depends on whether it is suitable for the

knowledge or skill to be learned and the attitude of the students. Classroom
organisation is the key to using resources successfully. You need to:
• prepare thoroughly. Make sure that you are familiar with the text or
resource so that you use it with confidence and assurance. If equipment
is involved, check that it is in working order, make sure that you know
how to operate it and that it is available when required.
• use the text or resource at the right place and time in the lesson. The
resource should fit in with the flow and sequence of the lesson. It should
serve a definite teaching purpose.
42
• (if the resource is radio, film, video or television), introduce the program
by outlining the content. You might also set some questions to guide
listening or viewing. Follow up after using the resource, by discussing
and drawing appropriate conclusions.
Elaboration of content and activities
Structure for a comparative essay
There are two ways to approach a comparison of two texts, as illustrated in

the table below. The second one, ‘Point by point’, is preferable.
Text by text
Write all you can about the relevant points in one text, then discuss Text 2,
comparing each point back to its equivalent in Text 1.
Point by point
Discuss a point from Text 1, then write a comparison of that point as it
appears in Text 2. Proceed to the second point in Text 1, then compare with
the same point in Text 2. Continue this way until all points of comparison
have been discussed.
Diagrammatical representation of methods of comparison
Text by text method Point by point method
• Introduction: state your thesis • Introduction: state your thesis

• Contextualisation: a brief synopsis of both texts • Contextualisation: a brief synopsis of both texts
• Then a series of paragraphs, one for each point: • Then a series of paragraphs, one for each point:
Text 1 Point 1
Point 1 Text 1
Point 2 Text 2
Point 3 Point 2
Text 2 Text 1
Point 1 Text 2
Point 2 Point 3
Point 3 Text 1
• A paragraph on the effectiveness of the literary Text 2
style. This should be an evaluation, requiring a
higher order of thinking • A paragraph on the effectiveness of the literary
style. This should be an evaluation, requiring a
• Conclusion: Restate your thesis in different words
higher order of thinking
from your introduction
• Conclusion: Restate your thesis in different words
from your introduction
43
Planning a comparative essay
Draw up a table with two columns, one for each text. Jot down the relevant
points to be discussed from Text 1, then beside each write down the similar
idea or technique that appears in Text 2. A comparative essay can permit
some dissimilarities, so if Text 2 has a different idea or technique, say so.
However, remember that a comparative essay must mainly focus on the
similarities, not the contrasts.
Key language features
Comparison
Both A and B … Just as A... so too B…
Like A, B… A is as … as B ….
B also has … A ...; similarly, B…
Neither A nor B has … A …; likewise, B …
Contrast
Unlike A, B … A is not as … as B…
In contrast, B … A has …; however, B has …
Although A … B … A is … but B is …
A is … whereas B is … A is ….; on the other hand, B is …
Film studies
Film studies: 5-week sub-unit planner
Week Proposed lessons Resources Assessment
1
• Orientation lesson: a table distinguishing main elements of all Use personal
creative texts and the style (cinematic) and student
• Begin discussing and note taking on different filming techniques: knowledge of
movement, composition popular films
• More filming techniques: complete composition and discuss colour to draw upon
• More filming techniques: lighting, symbols for examples
• Sound effects, graphics and special effects
2
• Editing: begin 5-picture scenario storyboard with instructions on
composition and sound
• Complete storyboard and instructions
• Introduction to de Bono’s ‘6 thinking hats’ as an approach to
analysis. Allocate students to groups (hats). Explain feedback
expectations
• View film (preferably in a double lesson
44
• View film if not completed Internet

3
• Students to work in their ‘hats’ groups and collate their observations reviews
• Students continue to collate notes
• Students to record notes on butchers paper
• Students present group feedback to class. Teacher collects and
retypes notes into smaller form, photocopies and returns to students
4 and
• Distribute task sheet. teacher discusses structure of essay and Internet
draws diagram of essay structure on board reviews
5
• Work on essay until end of Week 5
Filming techniques
Film doesn’t just happen. The director plans the shots very carefully in order
to create the impressions she or he wants to give. For example:
1. Composition
• High angle shots: make an object look important or domineering
• Low angle shots: make things look vulnerable or small, less important
• Forward or frontal shots of people approaching the camera. Suggests
openness and honesty or trust. It appears that the subject is aware of the
camera person or the person they are approaching
• Back shots suggest trickery or deceit, vulnerability and unawareness
• Close-ups (either extreme or ordinary) draw the viewer into the action or
into people’s emotions. Often used for shock value
• Medium shots focus on the whole person, object or group. They ‘carry’
the story
• Long shots are used to show the environment and to suggest how the
environment affects the people or things in it, or the situation of the
person(s) or objects within it
• Some suggested activities for high and low angle shots
− teacher sits on floor and asks students how their perceptions of the
teacher changes when students view them from above
− invite each student to stand on teacher’s desk (as in Dead Poets
Society!) to gain a different perspective of the class. Teacher to sit
amongst the students
− write a few lines about how different the view is ‘from the top’ and
how the teacher seemed from this view
• Group activity (3 people maximum)
− create a display (chart, butcher’s paper or the like) entitled: ‘Filming
techniques: Composition’. From magazines provided, find a picture to
match each of the shots mentioned. Stick them on your chart, label
them and write their purpose under each example.
2. Lighting and colour

Lighting and colour are used to create mood. Bright fresh colours and
sparkling or bright lighting will create a happy, festive mood. Mellow, soft
colours and lighting (such as candlelight) create a mellow, soft or romantic
mood. Grey, dismal colours and conditions will reflect a sombre mood. Dark
colours, darkness, silhouettes, silvery light and shadows create a scary
mood. Seasons and their colours are often used symbolically by directors to
create moods or suggestions; for example, the bright greens of grass and
trees suggest spring and new beginnings; bright yellows, greens and blues
45
of summer and ‘hot’ lighting suggest a summery, happy feel; or harsh, hot
lighting with browns and yellows may suggest harsh, threatening conditions.
Heavy grey clouds and a humid, dripping wet season can suggest
oppression and impending doom. The yellows, browns and reds of autumn
and its soft mellow light may suggest life or lifecycles winding down. Winter,
with its white snow and bare, grey trees and grey, dull lighting, is often used
in association with death. Often colours may be used in different ways
according to cultural associations. Here are some from Western culture.
They may differ from your culture.
− White: may stand for purity or innocence
− Red: anger or passion or emotions or blood
− Blue: sadness, coolness, restfulness
− Green: creativity, envy
− Yellow: happiness
− Black: death, evil, doom
− Purple: royalty, riches, intellect
− Orange: earthiness, heat
• Possible activity: Teacher puts together a collection of pictures from
magazines, each with a different mood created by the lighting and
colour. Issue one to each student and ask them to write a paragraph
about what mood is being generated and why. Alternatively, students
could be asked to bring along a picture or some pictures to write about in
class. Extras could be distributed to students who forget to bring them.
3. Sound track
Soft or loud, fast or slow, sweet or threatening music also helps to create
pace and mood. It helps to heighten our emotions as we listen and/or watch
the images before our eyes. Natural sounds can also affect our emotions as
we watch. Compare the soothing sound of a bubbling stream with the
powerful roar of a waterfall, or leaves rustling in the breeze with the whistling
and wailing of a storm in progress. The sound of snapping twigs can
sometimes seem deadly.
• Possible activity: Play excerpts of music or other sounds to students and
ask them to write about what they felt or imagined while listening.
4. Graphics and special effects

These are computer-generated images that create reality from fantasy.
These are the spaceships and creatures of Star Wars; the hobbits and
monsters, amazing landscapes and buildings of Lord of the Rings; the
tragedy of Titanic; the feats of Spiderman and Batman. They feed our
imagination and make the impossible become the possible.
5. Editing
This is the selection and sequencing of footage by the director in order to
create the final product that we see upon the screen. Most of the footage
filmed ends up on the ‘cutting floor’, as they say.
A storyboard
Before shooting takes place, the director and his or her artists usually draw
hundreds of pictures with instructions on how they want scenes, costumes
and sets to look like and be filmed; this is the camera operator’s guide.
46
Applying De Bono’s ‘Six thinking hats’ approach to film study

Thinker and educator, Edward de Bono, has devised a simple and useful
way of examining situations from different viewpoints, metaphorically
expressed as ‘wearing different coloured hats’.
The ‘six thinking hats’

The six ‘hats’ are:
• white: facts
• red: emotions
• green: creativity
• yellow: positives
• black: negatives
• blue: synthesising all of the above into an essay or presentation
To apply this approach to film study, divide students into five groups, which
you choose. This is because some viewpoints require less insight than
others and are more suited to less able students. Each group is to ‘wear a
different hat’ and to make notes on their particular angle, while watching the
film. This approach is useful for novel studies also.
After the film, allow students to compile their notes and transfer them onto an
overhead transparency (or butchers paper). Each group then orally delivers
their observations to the class, each person speaking on at least one or two
of the points they contributed. Then, collect the transparencies or paper, and
type it up under the ‘hats’ subheadings in the order listed below (using better
language than the students will produce, and adding any insights you feel
they have missed). Photocopy and distribute to students. This will then form
the pattern of their film review structure. All that is then needed is an
introduction, topic sentences to each paragraph, and a conclusion. The rest
of the supporting material is all there. All students wear the blue hat when
they engage in the process of writing their reviews or critiques.
• white hat: facts (easy)
Gather details about the title, director, setting (time and place),
characters and their actors, the story line.
• red hat: emotions (easy)
Gather examples of when the audience is made to feel strong emotions;
for example, humorous parts, sad events, suspense, disgust, horror,
anger, sympathy. This is how the director is manipulating the audience
into feeling sympathetic or otherwise towards a character or towards his
message.
• green hat: creativity (difficult)
What is the main point (or points) the film is trying to get across to the
audience—in other words, the theme? How does the film do this--for
example, through characterisation, or through cinematic techniques such
as composition (close-ups, long shots, low or high-angle shots) or
stunning graphics? Collect examples of these. Are there any symbols in
the film; for example, characters that represent good or evil, seasons that
represent new beginnings or the passing of old days, animals or birds
and so on?
• yellow hat: positives (medium)
Focus on filming techniques, and gather examples of where clever colour
and/or lighting has been used to create a certain mood or atmosphere.
47
Observe whether certain scenes have been shot at night or by day, in

rain or sunshine, indoors or outdoors and what effect the lighting and
colours might have. Also comment on the soundtrack and the type of
sound or music used in certain places, and what effect this has on the
viewer. Distinguish between music, natural sounds, other sounds (for
example, of industry, traffic, war). Comment on other positives that aren’t
mentioned elsewhere.
• black hat: negatives
Comment on unsatisfactory aspects of the film, such as unrealistic
scenes, weak characters, props or costumes, an unsatisfying ending,
unsuitable or out-of-character objects captured by mistake. How could
the film be better?
Using the ‘Six hats’ approach with film: ‘Dances with Wolves’
• white hat: facts and plot of Dances with Wolves
Director: Kevin Costner
Made in: 1990; USA
Distributed by Orion Pictures
John Corban played by Kevin Costner
Stands with Fists played by Mary McDonnell
It is 1863 and the action opens during the American Civil War at Saint
David’s Field in Tennessee. John Corban (northern forces) defies death in a
reckless ride across enemy firing lines and becomes a decorated war hero.
He offers himself for frontier service and at Fort Hayes is relegated to a
forgotten post, Fort Sedgwick, by a drunken and vindictive superior officer.
At this fort, Corban is the only inhabitant and gradually befriends the Indians,
and a wolf, while awaiting the arrival of back-up troops. Over the course of a
year, Corban becomes one with the Sioux, who name him ‘Dances with
Wolves’. He learns their language and their ways, hunts buffalo with them,
helps them against their marauding Pawnee neighbours, and marries Stands
with Fists, herself a white captive who was raised by Indians. All this time he
awaits reinforcements and expects to become a liaison agent to bring about
understanding between the Indians and the soldiers. However, when
reinforcements arrive, they are brutal, anti-Indian, and have no desire for a
peaceful resolution. After capture, rough handling and escape, Dances with
Wolves makes his final personal choice and commits himself to the
welcoming Sioux. The film ends with a note that 13 years later the Sioux
surrendered themselves and their lands in Nebraska (the modern state
name), which marked the passing of the prairie frontier into history.
• red hat: emotions
Scenes that move our emotions and are designed to make us
sympathetic or antagonistic to characters and/or groups of people and
their ways; for example, we feel
− disgust when Corban is beaten up by his own colleagues for
establishing good relations with the Indians
− satisfaction when Corban chooses to make the Indian way of life his
own.
• green hat: themes and creativity
The theme shows clearly that the Sioux were a sensitive people and had
a complex and friendly culture, aside from defending themselves against
aggressors (the Pawnees and the whites). Ironically they appeared to be
much more civilised in their behaviour than the whites presented in this
film, apart from Corban. The theme is of tolerance versus intolerance.
48
− symbols in the film:

wolves: are loners, shy, hunters who sometimes live in packs;
obviously symbolic of both Corban as an individual and the Indians
themselves (note the significance of the title); buffalo: stands for the
Prairie Indian’s way of life
− creative shots:
Corban’s voyage to the prairie: the wagon amid the yellow hills,
panoramic scenes of waving grass and beautiful countryside,
silhouettes of the wagon and later of the wolves, stampeding buffalo
through the evening fog
• yellow hat: positives
− Humour: the travelling companion to Fort Sedgewick; the ‘bad horse’
scene at the fort when Corban thought there were Indians sneaking
around outside; the nude encounter with the Indians, and waving ‘hi’
• black hat: negatives
− A dead elk in a waterhole on the prairies! Elk are mountain creatures
and not found on prairies.
Structure of a literary essay
Introduction
The purpose of an introduction is to give your readers an indication of what
your essay will be about.
Refer to the wording of the question and make an objective statement (that
is, do not use first person—‘I’, ‘me’ ‘my’ and so on) about what you believe is
the case. Offer a few briefly stated, generalised reasons as to why you hold
this view.
You could state the intention of the essay (for example, ‘the intention of this
essay is to demonstrate the validity of the points put forward above’; or, ‘the
following argument or discussion is intended to prove the validity of these
points’.
The body
This is made up of a number of paragraphs. Create a paragraph or two for
each of the reasons you offer for holding your point of view. Tackle each
point in the order in which you mention them in the introduction.
The purpose of a paragraph is to carry your argument or discussion forward
and to supply evidence. Each paragraph must have a ‘topic’ or ‘introductory’
sentence. The purpose of a topic sentence is to indicate to the reader what
your paragraph will be about. It must contain a general point you are making
in favour of your argument or discussion.
Follow this topic sentence with examples from the text or other relevant
articles to support your view. Within your paragraph, you may include
quotations from texts with referencing footnotes to illustrate your point.
These must be presented following international conventions (ask your
teacher).
The last sentence of the paragraph should briefly summarise the main point
of the paragraph and fluently lead on to the next point.
49
Conclusion
• Begin this paragraph with an appropriate language cue, which indicates
that your argument or discussion is at a close. For example:
‘In conclusion…’
‘It can be concluded that…’
‘To summarise…’
‘In summary…’
‘Ultimately it all comes down to...’
‘Therefore it is obvious that…’
• refer briefly to your main supporting points
• repeat the main point you are making in relation to the question or topic
you have chosen
• do not introduce new evidence into your conclusion
How to write and evaluate a report
What is a report?
Researched reports or oral presentations are factual and are written for a
purpose. They are not simply a collection of stand-alone facts. The purpose
is for the facts to be examined and evaluated, some conclusions reached,
and recommendations made.
Layout of a report
A report will usually have at least six parts to it:
• a statement of purpose
• facts (that is, the bulk of the research)
• evaluation
• conclusion
• recommendations
• bibliography
Some reports contain a methodology section, which outlines the various
methods used to gather information, such as reading books or browsing the
internet (sources are listed in the bibliography), interviews, surveys,
observations, anecdotal evidence, photographing, testing and so on.
Writing style
Reports are written in an objective and factual style. They are formal
documents, which are the result of investigation. A report usually forms the
basis of further action by those who have commissioned the investigation
(such as parliamentarians, business leaders, judges or police, teachers,
parents, jealous spouses).
The different sections of a report are set out under subheadings. If the report
or research is being presented orally, these subheadings become ‘invisible’
and are not read out.
50
Example
Example of a statement of purpose

This report has been commissioned by the United Nations Committee on
Poverty, to investigate the representation of Papua New Guinea in the
International Press. There is a strong perception that Papua New Guinea
is being misrepresented and that the global community is gaining a very
one-sided and negative view of the opportunities that Papua New Guinea
has to offer. It is believed that the global community perceives Papua
New Guinea as being a male dominated land of poverty, ignorance,
violence, injustice and corrupt leadership. If this is true, then this
perception will obviously impact on many facets of Papua New Guinean
life. The economic potential of this country is huge, but if negative
perceptions are being portrayed this may deter people from coming, or
investing, and will therefore deprive the country of the means of
advancement. This report aims to examine reporting content and styles
in local and foreign media in order to confirm or otherwise, the strongly
held perceptions outlined above. When its findings (that is, the factual
part of the report) have been revealed, an evaluation of the true situation
can be made, and recommendations put in place.
Marking of the reports

Although reports must contain facts, substantiated by a bibliography, the
main focus is on the evaluation and the recommendations and what is hoped
to be achieved by them.
51
Research
Research summary sheet
NAME: ___________________________________________________________
YEAR LEVEL: _______
ASSIGNMENT TASK NUMBER: _______
ASSIGNMENT NAME: _______________________________________________
Place of Names of documents or kinds of information gathered

research
Your class That is, what have your English notes taught you about this topic?
notes -------------------------------------------------------------------------------------------
-------------------------------------------------------------------------------------------
-------------------------------------------------------------------------------------------
Library That is, what non-fiction or reference books did you use to gather this
research?
-------------------------------------------------------------------------------------------
-------------------------------------------------------------------------------------------
-------------------------------------------------------------------------------------------
-------------------------------------------------------------------------------------------
-------------------------------------------------------------------------------------------
World Wide That is, what websites did you visit in order to gather your information?
Web -------------------------------------------------------------------------------------------
-------------------------------------------------------------------------------------------
-------------------------------------------------------------------------------------------
-------------------------------------------------------------------------------------------
Multimedia That is, what film, television, radio or other multimedia did you use to
(and other gather your information?
resources) -------------------------------------------------------------------------------------------
-------------------------------------------------------------------------------------------
-------------------------------------------------------------------------------------------
-------------------------------------------------------------------------------------------
Drafting How many drafts did you do of this assignment (and have checked by your
teacher)? ___________
52
Useful resource books and websites

Beam, M. T. 2001, Celebrate your Creative Self, North Light Books,
Cincinnati..
Cochrane, S. and Stevenson, H. (eds) 1990, Lukluk Gen! Look Again,
Contemporary Art from Papua New Guinea, Perc Tucker Regional Art
Gallery, Townsville.
de Bono, E. 1985, Six Thinking Hats: The Power of Focused Thinking, Little,
Brown, Boston.
Hoffert, B. et al. 1995, Art in Diversity, Longman, Melbourne.
National Department of Education 1982, Expressive Arts: Dance and
Drama—Short Stories and Legends for Use in Provincial High Schools,
Papua New Guinea Department of Education, Waigani.
National Department of Education 1982, Expressive Arts: Dance and
Drama—Poetry for Use in Provincial High Schools, Papua New Guinea
Department of Education, Waigani.
National Department of Education 1996, Expressive Arts: The Rock Father
and Other Plays for Use in Provincial and National High Schools, Papua
New Guinea Department of Education, Waigani.
Webb, M. and Niles, D. (eds) 1996, Riwain–Papua New Guinea Pop Songs,
Port Moresby Teachers College and Institute of PNG Studies, Boroko
Webb, M. 1990, Ol Singsing Bilong Ples, Institute of Papua New Guinea
Studies, Boroko.
Websites
<http:/www.cyber-prof.com/mdia 1194/Lesson-2/lesson2-principles2.htm>
53
References
Facilitating and Monitoring Unit 2002, The State of Education in Papua New
Guinea, Papua New Guinea Department of Education, Waigani.
International Baccalaureate, http://www.humbleisd.net/education/scrapbook.
International Education Agency 1998, The English Curriculum, International
Education Agency of Papua New Guinea, Boroko.
Josephs, J. 2000, Education for All: Assessment 2000 Papua New Guinea
Country Report. Document presented in the Asia-Pacific Conference on
Education for All, Bangkok, Thailand.
Matane, P. 1986, A Philosophy of Education for Papua New Guinea,
Ministerial Committee Report, Papua New Guinea Ministry of Education,
Waigani.
Mayer, R 2004, ‘Should there be a three-strikes rule against pure discovery
learning? The case for guided methods of instruction’, American
Psychologist, vol 59, no. 1, pp. 14–19.
National Department of Education 1999, A National Plan for Education
2005–2014, Papua New Guinea Department of Education, Waigani.
National Department of Education 2002, National Assessment and
Reporting Policy, Papua New Guinea Department of Education, Waigani.
National Department of Education 2002, National Curriculum Statement,
Papua New Guinea Department of Education, Waigani.
New Zealand Ministry of Education 1991, English in the New Zealand
Curriculum, Wellington.
South African Department of Education 2003, National Curriculum Statement
Grades 10-12 (General) Languages, Republic of South Africa, South
Africa.
54
Glossary for Language and Literature
Alliteration The repetition of consonants in order to create a sound effect that

complements the subject
Analysis Examining the pieces that make up the whole
Assonance The repetition of vowels in order to create pace and/or mood
Bias A leaning towards a particular point of view
Biodoc Biographical documentary
Biopic Biographical film
Characterisation The ways through which a character is constructed
Climax The high point of the text
Collage Presentation made by sticking, pasting or compiling pictures or
quotes to create a visual impact
Complication The development of tension and conflict
Composition Putting all the parts of a work together as a whole; for example, an
essay or short story
Conflict Opposing ideas that cause disagreement or friction between people
Context The situation or background against which events take place; literary
context, historical context, personal or cultural context
Contrast Showing difference in settings, actions, appearances
Creative Making, designing or inventing something that has never been before
(original)
Critical literacy A discerning approach to texts that requires readers, viewers or
listeners to detect subtleties such as bias and perspectives created by
choice of language or images
Cumulative Building on earlier work so it gets better or bigger
Dialogue Two or more people interacting through words
Dramatic irony This occurs when the reader or audience is made aware of
knowledge that other characters in the text do not have. It is used to
heighten tension
Element An important part of making or creating a work; for example, plot,
setting, themes, characters, graphics
Evaluation Expressing opinions about the value or effectiveness of an idea or
technique
Exposition A presentation of ideas
Focus Aiming or looking towards one point
Genre A particular form of text
Imagery The figurative use of language
Improvise To make up in place of the real thing
Integrate To join different things into one
Interact Discussing, talking, or working with others
Irony A twist of expectations; when the least expected situation, or
behaviour from a person, suddenly becomes true
55
Literary style This term encompasses all of the writer’s choices as to how to
convey his or her theme; in particular, the way language is
manipulated
Media Newspaper, books, film, radio, television
Metaphor A comparison of two unlike entities, without using comparatives such
as ‘like’, ‘as …. as’
Monologue One person talking or expressing their ideas
Onomatopoeia When the word describing an action echoes its sound
Orientation The introductory part of a text that establishes settings of time and
place, characters and their relationships
Paradox When two seemingly incongruous situations exist at the same time
Parody Outright and obvious mockery of a situation, person, system, event
Personification When human characteristics are attributed to an inanimate object
Perspective Point of view
Pitch How high or low your voice is
Plot The storyline
Position The stand you take in favour of or against something
Resolution The ending, or when a conflict is resolved
Rhythm Regular, repeated pattern of sound
Satire A subtle mockery of a situation, person, system, event; sarcasm;
biting wit
Script Written actions of a play or blueprint for a speech
Setting The time and place in which action occurs
Simile A comparison of two unlike entities using the words ‘like’, ‘as … as’
Styles Ways or manners of expressing ideas, writing or doing something
Symbol A representation of something else
Technique A particular way of doing something
Text Text is created when words and/or images are put together to
communicate a meaning. Text may be written, spoken, electronic,
visual
Tone Expression
56
Glossary for assessment

Syllabus outcomes, criteria and performance standards, and examination
questions have key words that state what students are expected to be able
to do. A glossary of key words has been developed to help provide a
common language and consistent meaning in the syllabus and teacher guide
documents.
Using the glossary will help teachers and students understand what is
expected in responses to examinations and assessment tasks.
Glossary of key words for assessment
Account Account for: state reasons for, report on. Give an account of:
narrate a series of events or transactions
Analyse Identify components and the relationship between them; draw

out and relate implications
Apply Use, utilise, employ in a particular situation
Appreciate Make a judgment about the value of
Assess Make a judgment of value, quality, outcomes, results or size
Calculate Ascertain or determine from given facts, figures or information
Clarify Make clear or plain
Classify Arrange or include in classes or categories
Compare Show how things are similar or different
Construct Make; build; put together items or arguments
Contrast Show how things are different or opposite
Critically Add a degree or level of accuracy or depth, knowledge and

(analyse or evaluate) understanding, logic, questioning, reflection and quality to
(analysis or evaluation)
Deduce Draw conclusions
Define State meaning and identify essential qualities
Demonstrate Show by example
Describe Provide characteristics and features
Discuss Identify issues and provide points for and/or against
Distinguish Recognise, note or indicate as being distinct or different from; to

note differences between
Evaluate Make a judgement based on criteria; determine the value of
Examine Inquire into
57
Explain Relate cause and effect; make the relationships between things
evident; provide why and/or how
Extract Choose relevant and/or appropriate details
Extrapolate Infer from what is known
Identify Recognise and name
Interpret Draw meaning from
Investigate Plan, inquire into and draw conclusions about
Justify Support an argument or conclusion
Outline Sketch in general terms; indicate the main features of
Predict Suggest what may happen based on available information
Propose Put forward (for example, a point of view, idea, argument,

suggestion) for consideration or action
Recall Present remembered ideas, facts or experiences
Recommend Provide reasons in favour
Recount Retell a series of events
Summarise Express, concisely, the relevant details
Synthesise Putting together various elements to make a whole
58

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Language and Literature

Papua New Guinea

Published in 2008 by the Department of Education, Papua New Guinea

© Copyright 2008, Department of Education, Papua New Guinea

All rights reserved. No part of this publication may be reproduced, stored in a

The outcomes approach

organising schools do not make it easy for teachers to provide expanded

4 What are the most 2 What is the best way to find

3 What are appropriate learning

Learning outcomes provide teachers with a much clearer focus on what

Language and Literature learning outcomes

Learning and teaching

Learning and teaching strategies

Reading and viewing

Writing and visual creation

Developing Language and Literature skills

What do students do in Language and Literature?

In Language and Literature, students acquire the following skills:

Listening and speaking

Reading and viewing

Writing and visual creation

Planning and programming units

The main purpose of planning and programming is to help you to arrange

Points to consider when programming

The planning process

This teacher guide provides performance standards and examples of a

Using the internet for classroom activities

texts on the internet. It is likely that students have varying degrees of

Assessing student work containing material from the internet

Language and Literature requirements

Language and Literature requirements

Grade Weeks Term Unit Essential resources for activities

11 1–10 1 Journeys and Quests: Part 1 Library or internet references

11 11–20 2 Journeys and Quests: Part 2 Drama

Assessing Language and Literature

Assessment in Language and Literature is criterion-referenced and

Example of a criterion-referenced test

• a syllabus that provides a clear sense of the syllabus standards through

Learning outcomes performance standards for Language and Literature

Learning Very high High Satisfactory Low Below

Learning Very high High Satisfactory Low Below

4. Analyse and Demonstrates Demonstrates Demonstrates Demonstrates Demonstrates

Assessment for learning

Assessment for learning is often called ‘formative assessment’ and is

Assessment of learning is often called ‘summative assessment’. Summative

Assessing Language and Literature units

The assessment process

How will you, or they, How will students

• the assessment criteria and performance standards or marking guides

Although assessment components and weightings are stipulated in the

Principles of designing classroom tests

• the question types (true or false, fill-in-the-blank, multiple-choice,

Criteria for judging performance

Performance or presentation assessments

Process skills assessments

Types of assessment tasks