Fractions, decimals, and percentages are different ways of representing parts of a whole. The document discusses the relationships between fractions and decimals, fractions and percentages, and decimals and percentages. It provides a high-level overview of how these concepts are related and can be converted between each other.
Students will work in pairs to play a card game where they determine the monetary value of turned over cards and track their totals. The pair with the most money after all cards are played keeps both cards. As students master the skills, the difficulty of the cards will increase and higher performing pairs will earn house points.
The document lists various math and statistics questions related to Smarties candy. Some examples of questions asked include how many Smarties will fit in one's mouth, the circumference and diameter of a Smartie, calculating costs of Smarties packets, measuring weights of Smarties, probabilities of drawing certain colored Smarties, dividing and sharing Smarties among groups, and representing Smartie data using graphs and percentages.
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This document provides guidance on calculating percentages for KS2 maths SATs exams. It explains that percentages questions will ask the reader to calculate a percentage of an amount. It then walks through examples of calculating 5%, 10%, 15% and other percentages of various amounts, including money amounts. The document emphasizes calculating the 10% first before calculating smaller percentages that are portions of 10%, like 5%. It concludes by providing some practice problems for the reader to try calculating percentages on their own.
The document provides an overview of the history and types of number systems. It discusses how ancient civilizations like the Egyptians, Babylonians, and Mayans developed different base number systems based on counting fingers and toes. It then explains the modern decimal number system and provides examples of different types of numbers like rational, irrational, integer, natural numbers. The document also briefly touches on concepts like terminating and recurring decimals as well as scientists who contributed to the study of number systems.
SESSION 9 - Maths - Fractions, Decimals and Percentagesdringl01
1) The document discusses visualisation in mathematics teaching, specifically with fractions, decimals, and percentages.
2) It provides examples of visual models and activities that can be used to help students understand relationships between fractions, decimals, and percentages, such as using counting sticks, shapes, number lines, and equivalence charts.
3) Resources are suggested for teachers, including websites, books, and articles that provide additional information and strategies for visual teaching methods in math.
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This document provides instructions for calculating percentages from grids for KS2 maths SATs questions. It explains that you count the number of shaded or colored tiles, express it as a fraction of the total tiles, and convert that fraction to a percentage by changing the denominator to 100. Two examples are shown step-by-step: calculating that 6 out of 20 tiles shaded is 30% and 14 out of 50 tiles green is 28%. The document ends by providing three practice problems for the reader to solve.
Fractions, decimals, and percentages are different ways of representing parts of a whole. The document discusses the relationships between fractions and decimals, fractions and percentages, and decimals and percentages. It provides a high-level overview of how these concepts are related and can be converted between each other.
Students will work in pairs to play a card game where they determine the monetary value of turned over cards and track their totals. The pair with the most money after all cards are played keeps both cards. As students master the skills, the difficulty of the cards will increase and higher performing pairs will earn house points.
The document lists various math and statistics questions related to Smarties candy. Some examples of questions asked include how many Smarties will fit in one's mouth, the circumference and diameter of a Smartie, calculating costs of Smarties packets, measuring weights of Smarties, probabilities of drawing certain colored Smarties, dividing and sharing Smarties among groups, and representing Smartie data using graphs and percentages.
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This document provides guidance on calculating percentages for KS2 maths SATs exams. It explains that percentages questions will ask the reader to calculate a percentage of an amount. It then walks through examples of calculating 5%, 10%, 15% and other percentages of various amounts, including money amounts. The document emphasizes calculating the 10% first before calculating smaller percentages that are portions of 10%, like 5%. It concludes by providing some practice problems for the reader to try calculating percentages on their own.
The document provides an overview of the history and types of number systems. It discusses how ancient civilizations like the Egyptians, Babylonians, and Mayans developed different base number systems based on counting fingers and toes. It then explains the modern decimal number system and provides examples of different types of numbers like rational, irrational, integer, natural numbers. The document also briefly touches on concepts like terminating and recurring decimals as well as scientists who contributed to the study of number systems.
SESSION 9 - Maths - Fractions, Decimals and Percentagesdringl01
1) The document discusses visualisation in mathematics teaching, specifically with fractions, decimals, and percentages.
2) It provides examples of visual models and activities that can be used to help students understand relationships between fractions, decimals, and percentages, such as using counting sticks, shapes, number lines, and equivalence charts.
3) Resources are suggested for teachers, including websites, books, and articles that provide additional information and strategies for visual teaching methods in math.
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This document provides instructions for calculating percentages from grids for KS2 maths SATs questions. It explains that you count the number of shaded or colored tiles, express it as a fraction of the total tiles, and convert that fraction to a percentage by changing the denominator to 100. Two examples are shown step-by-step: calculating that 6 out of 20 tiles shaded is 30% and 14 out of 50 tiles green is 28%. The document ends by providing three practice problems for the reader to solve.
This document discusses culturally responsive frameworks and strategies for meeting the needs of English language learners. It defines culture and explores how a teacher's own cultural beliefs and expectations may differ from their students'. It emphasizes using an assets-based approach that values students' languages, cultures and backgrounds. Specifically, it recommends scaffolding instruction through the use of visuals, modeling, grouping students and differentiating lessons based on their needs. The overall goal is for pedagogy to be student-centered, simultaneously challenging and supporting students as they learn.
The document provides information and activities for visual, auditory, and kinesthetic learners to help with pre-writing tasks. It discusses learning styles and defines them. Example activities are presented that incorporate different learning styles, such as using a voice recorder for auditory learners or forming groups to move around for kinesthetic learners. The document aims to show the connection between pre-writing activities and accommodating different learning styles.
Take them, save them, and (most importantly) use them. Documenting not only your big events but the day-to-day workings of the museum provides valuable visual resources for everything from creating a deep institutional memory to providing a wealth of resources for enhancing everything from marketing to education to fundraising to outreach. This session not only covers why being glued to the camera is a good thing but how your institutional photographs can work for you. It also covers suggested best practices for managing your institutional photographs after you've taken them.
Chair: Rachel Kassman, Jewish Museum of Maryland
Presenters:
-Dana Allen-Greil, National Museum of American History
-Elena Rosemond-Hoerr, Jewish Museum of Maryland
-Jennifer Vess, Jewish Museum of Maryland
Presentation for the Mid-Atlantic Association of Museums (MAAM) Annual Meeting, October 10, 2011.
Beverly LaBrie has over 20 years of experience in counseling, teaching, facilitating, and wilderness travel. She is an art therapist and licensed marriage and family therapist with a passion for holistic care and mentoring. Her experience includes individual, group, and family therapy utilizing art and wilderness-based modalities. She is currently an art therapist at The Emily Program and runs her own business, ArtfulSoulscapes, offering workshops and retreats.
The document provides information and sample activities about perceptual learning styles and pre-writing tasks for visual, auditory, and kinesthetic learners. It defines key learning styles, references research findings on how styles influence teaching and learning, and gives examples of pre-writing activities tailored for different styles. The activities aim to generate ideas and organize information for writing through visual, auditory, and kinesthetic modalities.
Our conversations about shared aims in teacher education led us to develop an interdisciplinary methods course—the second in a two-course sequence —for teacher candidates in our social studies and ELA teacher education programs. We have two overarching goals: (1) to expand dialogues about learning, teaching, and their inherent dilemmas (Grossman, Wineburg, &Woolworth, 2001); and (2) to help candidates adapt the theoretical and practical foundations from their initial domain-specific methods courses to specific instructional activities in their fields. To select those instructional activities, we drew from the growing base of scholarship on high-leverage teaching practices, which allow novice teachers to better understand how students learn, reveal the complexities of disciplinary thought and activity,are warranted by research, and can be enacted across curricular contexts
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Recent research on how families and intergenerational groups learn in the museum setting provides a strong rationale for planning and facilitating programs in specific ways that meet these visitor groups’ diverse needs. While this research provides compelling ideas, there are real barriers for museums to plan, implement, and evaluate these research-based strategies with their front-line staff. In addition, the emerging research has not yet been able to provide concrete evidence about which implementation strategies are most effective supporting the learning of families.
This session will summarize lessons from recent literature, offer a series of case studies, and facilitate the exchange of ideas between attendees about how staff training strategies or program development approaches can be employed, adapted, or tested to better support the learning of intergenerational groups in a variety of museum settings.
This session was offered at the October 2014 WMA and presenters* included:
Mary Kay Cunningham, Visitor Experience & Interpretation Specialist, Dialogue Consulting
Rowanne Henry, Evaluator, Museum Stories Consulting & Blogger
Jason Porter, Associate Director of Education, Skirball Cultural Center
Sarah Watkins, Director of Collections and Learning, USS Constitution Museum
*presenter contact information included in the last slide of the presentation
A process model of learning
Grounded in a social-constructivist epistemology
Assumes effective learning requires the development of a community of learners that supports meaningful inquiry
Learning occurs because of the interaction of social, cognitive and teaching presence
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This document outlines Chris Grodoski's presentation on interpreting ambiguous images through "unpacking". The presentation will include unpacking as an approach for understanding creative visual imagery, a collaborative exploration, and an assessment, scaffolding, and review workshop. Unpacking is a five-step interpretive process that honors a variety of creative works, develops student interpretation, and can be applied to both analysis and production. It integrates socio-cultural learning, highlights multiple perspectives, and fosters student inquiry. The presentation will cover using unpacking to describe images, identify emotions, reference other images, determine the audience, and develop metaphors. Assessment of unpacking includes design, narratives, increasing complexity, and elaboration.
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This document provides an overview of Module 74-80 from the Myers' Psychology for AP textbook. It covers key topics in social psychology including attribution, attitudes, conformity, obedience, group behavior, prejudice, aggression, attraction, altruism, conflict and peacemaking. The slides define important concepts, present research findings, and include hyperlinks to allow navigation to specific sections or definitions. The teacher information section provides guidance on using the slides for instruction.
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This document discusses problem-based learning (PBL), which is considered a student-centered pedagogy. It defines key characteristics of PBL, including using real-world problems, relying on problems to drive the curriculum, problems being ill-structured with no single solution, and developing independent lifelong learners. Assessment in PBL focuses on self-assessment, peer assessment, and collaborative assessment. The presentation also discusses how PBL incorporates multiculturalism and individuality.
4. grantseeking basic elements of a grantRebecca White
This document provides guidance on the basic elements of a grant proposal, including an introduction, mission and background, statement of need, project description, request for funding and budget, and conclusion. It emphasizes that the introduction should briefly describe the organization, purpose of the proposal, and funding amount requested. The mission and background section explains the organization's goals and how it arrived at its current state. The statement of need justifies the project by explaining the need, using research, statistics, and testimonies. The project description outlines the proposed project, its uniqueness, timeline, goals, objectives, outcomes, and evaluation plan. The funding request specifies how funds will be used and fits into the overall budget. The conclusion summarizes benefits and next
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Grants for beginners. Module 2 of grant seeking series. Covers how to develop a program logic model for grant development. Basic program logic models include highlighting the situation and priorities; development of overall program goal; determining program outcomes, outputs and inputs; identifying any assumptions and external factors that are in play; and developing an program evaluation plan.
This document discusses culturally responsive frameworks and strategies for meeting the needs of English language learners. It defines culture and explores how a teacher's own cultural beliefs and expectations may differ from their students'. It emphasizes using an assets-based approach that values students' languages, cultures and backgrounds. Specifically, it recommends scaffolding instruction through the use of visuals, modeling, grouping students and differentiating lessons based on their needs. The overall goal is for pedagogy to be student-centered, simultaneously challenging and supporting students as they learn.
The document provides information and activities for visual, auditory, and kinesthetic learners to help with pre-writing tasks. It discusses learning styles and defines them. Example activities are presented that incorporate different learning styles, such as using a voice recorder for auditory learners or forming groups to move around for kinesthetic learners. The document aims to show the connection between pre-writing activities and accommodating different learning styles.
Take them, save them, and (most importantly) use them. Documenting not only your big events but the day-to-day workings of the museum provides valuable visual resources for everything from creating a deep institutional memory to providing a wealth of resources for enhancing everything from marketing to education to fundraising to outreach. This session not only covers why being glued to the camera is a good thing but how your institutional photographs can work for you. It also covers suggested best practices for managing your institutional photographs after you've taken them.
Chair: Rachel Kassman, Jewish Museum of Maryland
Presenters:
-Dana Allen-Greil, National Museum of American History
-Elena Rosemond-Hoerr, Jewish Museum of Maryland
-Jennifer Vess, Jewish Museum of Maryland
Presentation for the Mid-Atlantic Association of Museums (MAAM) Annual Meeting, October 10, 2011.
Beverly LaBrie has over 20 years of experience in counseling, teaching, facilitating, and wilderness travel. She is an art therapist and licensed marriage and family therapist with a passion for holistic care and mentoring. Her experience includes individual, group, and family therapy utilizing art and wilderness-based modalities. She is currently an art therapist at The Emily Program and runs her own business, ArtfulSoulscapes, offering workshops and retreats.
The document provides information and sample activities about perceptual learning styles and pre-writing tasks for visual, auditory, and kinesthetic learners. It defines key learning styles, references research findings on how styles influence teaching and learning, and gives examples of pre-writing activities tailored for different styles. The activities aim to generate ideas and organize information for writing through visual, auditory, and kinesthetic modalities.
Our conversations about shared aims in teacher education led us to develop an interdisciplinary methods course—the second in a two-course sequence —for teacher candidates in our social studies and ELA teacher education programs. We have two overarching goals: (1) to expand dialogues about learning, teaching, and their inherent dilemmas (Grossman, Wineburg, &Woolworth, 2001); and (2) to help candidates adapt the theoretical and practical foundations from their initial domain-specific methods courses to specific instructional activities in their fields. To select those instructional activities, we drew from the growing base of scholarship on high-leverage teaching practices, which allow novice teachers to better understand how students learn, reveal the complexities of disciplinary thought and activity,are warranted by research, and can be enacted across curricular contexts
Overview of Loyola University Chicago's presence at the 2014 Symposium of the International Association of Social Work with Groups (IASWG) in Calgary, Alberta, Canada.
This document discusses using culturally responsive frameworks to meet the needs of English language learners. It defines culture and explains why culture matters in education. It also provides strategies for learning about students' cultural backgrounds, incorporating their cultures into the classroom, and using culturally responsive pedagogy. Some key strategies discussed include scaffolding instruction, differentiating lessons, and using the principles of Universal Design for Learning to support English learners.
Supporting Family Learning; Emerging Research, Strategies, and ToolsMKCunningham
Recent research on how families and intergenerational groups learn in the museum setting provides a strong rationale for planning and facilitating programs in specific ways that meet these visitor groups’ diverse needs. While this research provides compelling ideas, there are real barriers for museums to plan, implement, and evaluate these research-based strategies with their front-line staff. In addition, the emerging research has not yet been able to provide concrete evidence about which implementation strategies are most effective supporting the learning of families.
This session will summarize lessons from recent literature, offer a series of case studies, and facilitate the exchange of ideas between attendees about how staff training strategies or program development approaches can be employed, adapted, or tested to better support the learning of intergenerational groups in a variety of museum settings.
This session was offered at the October 2014 WMA and presenters* included:
Mary Kay Cunningham, Visitor Experience & Interpretation Specialist, Dialogue Consulting
Rowanne Henry, Evaluator, Museum Stories Consulting & Blogger
Jason Porter, Associate Director of Education, Skirball Cultural Center
Sarah Watkins, Director of Collections and Learning, USS Constitution Museum
*presenter contact information included in the last slide of the presentation
A process model of learning
Grounded in a social-constructivist epistemology
Assumes effective learning requires the development of a community of learners that supports meaningful inquiry
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Week two - Leadership and facilitation in outdoor education expeditionsGeoff Adams
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This document outlines an introductory session on reflective writing and mindfulness practices for teacher training. The session introduces concepts like metacognition and mindfulness, and includes activities to help participants reflect on their progress in the program and learning approaches. Participants complete questionnaires, engage in mindfulness exercises like focusing on a sweet or picture, and create a paper fortune teller. They discuss how to use reflective practices and adapt mindfulness activities for their subject areas. By the end of the session, participants learn terms like metacognition and mindfulness, and most are able to explain how to apply these concepts, while some can create an action plan.
This document outlines Chris Grodoski's presentation on interpreting ambiguous images through "unpacking". The presentation will include unpacking as an approach for understanding creative visual imagery, a collaborative exploration, and an assessment, scaffolding, and review workshop. Unpacking is a five-step interpretive process that honors a variety of creative works, develops student interpretation, and can be applied to both analysis and production. It integrates socio-cultural learning, highlights multiple perspectives, and fosters student inquiry. The presentation will cover using unpacking to describe images, identify emotions, reference other images, determine the audience, and develop metaphors. Assessment of unpacking includes design, narratives, increasing complexity, and elaboration.
Lecture Myers psychology ( a brief introduction)SalmaShakir1
This document provides an overview of Module 74-80 from the Myers' Psychology for AP textbook. It covers key topics in social psychology including attribution, attitudes, conformity, obedience, group behavior, prejudice, aggression, attraction, altruism, conflict and peacemaking. The slides define important concepts, present research findings, and include hyperlinks to allow navigation to specific sections or definitions. The teacher information section provides guidance on using the slides for instruction.
Community Engagement & Communications - HMF WorkshopCommunityWorkshop
This document provides guidance on community engagement and communications. It outlines 4 steps: 1) Know Yourself, 2) Know Your Community, 3) Craft Your Messages, and 4) Make an Engagement Plan. Each step includes tips and activities. The tips emphasize understanding audiences, developing tailored messages and branding, and choosing effective engagement strategies like events, education, and using a variety of communication channels.
This document proposes using Schlossberg's transition theory and appreciative advising to help ease the transition of transfer students. It outlines the challenges transfer students face, types of transfer students and experiences. The theoretical frameworks of transition theory, a counseling model and appreciative advising are described. Finally, a process is proposed that combines these frameworks into a model for advising transfer students through the stages of transition - assessing their situation, self, support and strategies, setting goals, intervening and following up.
This document discusses problem-based learning (PBL), which is considered a student-centered pedagogy. It defines key characteristics of PBL, including using real-world problems, relying on problems to drive the curriculum, problems being ill-structured with no single solution, and developing independent lifelong learners. Assessment in PBL focuses on self-assessment, peer assessment, and collaborative assessment. The presentation also discusses how PBL incorporates multiculturalism and individuality.
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Photolanguage australia toronto pres.
1. Images as Catalysts of
Expression: A Demonstration of
Photolanguage
Presented by:
Rebecca White, Ph.D. and Diane Sasser, Ph.D.
Associate Professor s
Louisiana State University
School of Human Ecology
Louisiana State University Agricultural Center
bwhite@agcenter.lsu.edu and dsasser@agcenter.lsu.edu
4. Introduction
• Each participant is invited to look at photographs
with the perspective spontaneously, affectively,
subjectively, and then reacting to them.
• The point is to be moved inwardly by the
images.
6. Photolanguage Origins (cont.)
• First published in 1968
• Purpose - discover a language relevant to
visually oriented youth of media age.
• Photolanguage series produced for
countries in Asia, Africa, Europe, North
America, Latin America, Australia
8. Photolanguage Australia
• Catholic Communications Centre
and the Catholic Education Office
• Special project for the
International Year of Peace
9. Photolanguage
• Photographs involved the application of
cultural, sociological, psychological, spiritual,
and photographic criteria.
• Collection included 130 photos
10. Using Photolanguage
– Spiritual Development
– Special Education
– Personal Development Programs
– Educational Program Evaluation
11. Using Photolanguage
• Youth programs
• Staff Development
• Student Groups
• Values Clarification
12. The Photolanguage Process
• Two personal components
– the creativity of the photographer
– the projections of the viewer
13. The Photolanguage Process
Requires:
1. Evocative photos
2. Small groups
3. Environment
4. Sufficient time
5. An experienced facilitator
6. Consideration of purpose
14. Evocative Photos
• Photos speak to us at different levels of
meaning.
• These are the images which speak the
language of symbol.
17. Sufficient Time
• Adequate time is essential
– For introduction of task
– Personal choice of photos
– Group exchange
18. An Experienced Facilitator
• Experience in group dynamics
• Understanding of Photolanguage process
• Facilitator sensitivity
19. An Experienced Facilitator
• Unobtrusive
• Non-manipulative
• Sensitive to the needs of individuals in the
group.
• Listening
20. Photolanguage Method
- Study a theme
- Opportunity for personal expression
- Stimulate discussion
- Determine outcomes and impacts
- Compile results of an experience
- Evaluate a program
21. The Method
1) Photo Arrangement
2) Groups Assembly and Focus Questions
3) Choice of photos
4) Exchange of Reflections in Group
23. Group Assembly and
Focus Question
• Assemble the group
• Reflect on a focus question
• Familiarize members with
language of pictures
24. Choice of Photos
• Participants view photos
• Participants select photos
and return to place
25. Exchange of Reflections in Group
• Members are invited to share the
significance of their photo (s)
• Facilitator acknowledges personal
contribution by smile, nod or ‘thank you”
• Other considerations for evaluators
26. Evaluator Protocol
• Group member introduction
• Evaluation introduces program evaluation
question
• Summation
28. • Select a photo that would best help you
express how you would feel if you had
been through one of the hurricanes that
have hit the southern coastal states this
year.
29. How to Order Photolanguage
• http://peoplemaking.com.au/
– Click on card sets
• Photolanguage
135 photos $59.95
The contact person that we corresponded with is
Rosemary Allen and she can be reached at this
email address: books@peoplemaking.com.au
30. Summary
• Photographs symbolic and speak to
viewer
• Photographs involve the application of
cultural, sociological, psychological,
spiritual, and photographic criteria
• May be used in variety of group settings
• Follows structured method
• Focused questions
31. Images as Catalysts of
Expression: A Demonstration of
Photolanguage
Presented by:
Rebecca White, Ph.D. and Diane Sasser, Ph.D.
Associate Professor s
Louisiana State University
School of Human Ecology
Louisiana State University Agricultural Center
bwhite@agcenter.lsu.edu and dsasser@agcenter.lsu.edu
Editor's Notes
Hello, I am Rebecca White and I am Diane Sasser. BECKY: We are colleagues at LSU and work for the Louisiana Cooperative Extension Service. LCES provides informal education for Louisiana’s citizens. Our professional outreach is in the area of family and child development. DIANE: We provide program leadership to field faculty and staff who provide parenting education, family development programs and training for child care providers throughout Louisiana. BECKY: Today we want to share with you an evaluation resource that we have recently used in evaluating Extension programs. This resource – Photolanguage is an evaluation tool that uses images as a catalyst to enhance expressions by individuals and is particularly useful with sensitive audiences.
DIANE: Evaluators are often challenged to find ways to conduct evaluation with program participants who are shy, reticent, or have limited verbal abilities. In other circumstances, evaluation participants can find it difficult to address certain sensitive topics or issues. Photolanguage is a means of communication designed to facilitate personal expression and interaction in small groups. The method is an innovative process utilizing black and white photographs which have been specially chosen for their visual qualities, their capacity to stimulate the imagination, the memory and the emotions, and their ability to challenge the viewer to thoughtful reflection
BECKY Besides facilitating verbal articulation, the photos, of themselves, speak to the viewer. Each person is asked to become aware of the associations that spring to mind, the resonances that are stimulated by the photograph, and in turn to know oneself better by trying to put these thoughts into words and communicate it to the group. These photos, which can be described as symbolic, become a key to enable a person’s past experiences and sub-conscious to find conscious expression. It is for these reasons that the process featured today has been called a language – Photolanguage.
DIANE Photolanguage is a new insight into the image, into photography. Using this technique, participants are encouraged to look at photographs and react to them spontaneously, affectively, globally and subjectively. But not for the purpose of analyzing them. The point is to be moved inwardly by the images rather than dissect them.
DIANE The Photolanguage process was devised and developed in Lyon, France by Pierre Babin and his colleagues, psycho-sociologists Claire Belisle and Alain Baptiste. Their work had been stimulated by the pioneering efforts of the renowned educator, Paolo Freire, who used photographs in his work among the peasant farmers of Brazil, and by the imminent psychologist - Carl Rogers and his work with group approaches.
BECKY As Photolanguage came to be more widely known throughout the world it became apparent that the process would be more effective if the photographs were to reflect the social and cultural idiom of specific peoples. The first collection of Photolanguage was published in 1968 in response to the challenge to discover a language that was relevant to the affective, visually – oriented youth of our media age. Photo collections were produced for different countries.
DIANE Photolanguage was introduced to Australia by Pierre Babin in 1976 during a series of audio-visual seminars sponsored by the Catholic Communications Centre, Sydney The first serious exploration of Australian Photolanguage series was undertaken in 1977 by Jan Cooney, a graduate student. She researched the process, photographed an original set of black and white pictures and used them successfully with senior high school students, drug rehabilitation groups and adults of many ages and interests. The Catholic Communications Centre subsequently sponsored a visit to Australia by Claire Belisle in 1979 to conduct a series of workshops devoted exclusively to the photolanguage process. She inspired the group with a vision to publish a uniquely Australian set of photographs.
DIANE Photolanguage Australia resulted from collaboration between the Catholic Communications Center and the Catholic Education Office as a special project for the International Year of Peace. Photolanguage Australia is oriented towards a personal exploration of human.
BECKY Cultural, sociological, psychological, spiritual and photographic criteria were considered in the development of this collection. 130 photos are in the collection to select from. The experienced evaluator may wish to add photos to the group to supplement that may be more relevant to specific groups and situations.
BECKY Photolanguage can be used effectively with groups in areas such as Educational Program evaluation Spiritual Development Special Education Personal Development
BECKY Youth Programs Staff Development Student groups Values clarification
DIANE It is in the personal characteristic of photography – the creativity of the photographer and the projections of the viewer – that we find the basis of Photolanguage.
DIANE Photolanguage requires 1. Evocative Photos 2. Small Groups 3. Environment 4. Sufficient Time 5. An Experienced Facilitator 6. Consideration of purpose
BECKY Photos speak to us at different levels of meaning. As is the case with verbal language, some photos are superficial and trivial; others are to be perceived as no more that literal illustrations. some, like the pictures in the Photolanguage Australia collection, challenge the imagination, reach into the realm of the spirit and touch a deeper level of consciousness. These are the images which speak the language of symbol. These photographs facilitate: a concrete expression of feelings, memories, dreams, and ideas. They help a group to avoid wordy abstract discussions which can often serve only to evade, and not to confront specific issues.
BECKY Photolanguage is designed for small groups. Ideally the number in the groups is 10-12 persons – although it can be used effectively in groups of up to 15-20 people. Participation should be voluntary. This is critical as it is important that this freedom be respected in the selections of photos and the extent to which each individuals share with others in the group. Members should always be invited to choose and to exchange. Freedom of choice is assured by using such phrases as “ I invited you to chose two photographs which...” “ I invite you to share with us your choice of photograph.”
DIANE The environment of the group process (and interpersonal exchange) needs to be relaxed and suitable for quiet reflection. It should be comfortable and isolated from undue noise, potential distractions and human traffic. Adequate space is required to enable the photographs (between 40-50 in number) to be arranged on either tables or floors so that the members of the group are able to move around the pictures with freedom of movement and are able to view the pictures easily.
DIANE In Photolanguage speed is definitely NOT of the essence of the process. It is essential to allow sufficient time for the introduction of the task, personal choice of the photos and exchange in the group In a group of 5-10 participants with the task “to select one or two photos to introduce yourself to the group” a time span of 45 minutes would suffice. Larger groups would require perhaps an hour or more. It is important to give group members sufficient time to “speak to the photos” if they wish to.
DIANE Facilitators of groups using photolanguage need to be experienced in group dynamics and have an understanding of the photolanguage process. The use of photolanguage calls for a particular sensitivity on the part of the facilitator. Experience has shown that photolanguage has a quite remarkable power to facilitate communication and intensify the dynamic operating in the group.
DIANE Facilitators need to be unobtrusive, non-manipulative and sensitive to the needs of individuals in the group. The listening quality of the facilitator provides the essential character of a group using Photolanguage. The interpretation of any photograph belongs only to the participant who has chosen it. It is not either the facilitator or group members to project their own individual interpretations onto a photo chosen by another
BECKY Photolanguage method objectives that can be achieved with this method: To study a theme Opportunity for personal expression To stimulate discussion To determine outcomes and impacts Compile results of an experience
BECKY Photo Arrangement Groups Assembly and Focus Questions Choice of photos Exchange of Reflections in Group
DIANE Experience in many countries has proved the following method to be effective utilizing the photolanguage process Ideally, before the group assembles the facilitator will arrange the photographs on a table( or floor) in such a way that there is sufficient space between the photos to isolate each from the other. The photographs are aligned so that they will all face the viewer. For instance, they may be placed in a circular arrangement so that the group members are able to view them as they move round a table. The number and kind of photographs available to the group will be selected by the group facilitator keeping in mind the people involved and the focus question to be presented for reflection
DIANE When the group has assembled the facilitator will invite members to reflect upon a focus question. It is important that the facilitator from this question in clear, specific terms allowing the members freedom of choice either in the focus to be addressed or the number of photos to be selected. The first task of the group which is being introduced to the photolanguage process will ALWAYS be the simple focus: Chose 1,2,or 3 photos which you either like or dislike. This is to familiarize the members with using the language of pictures
BECKY The participants view but do not touch the photos. The time allotted is 5-10 min. It is important to view the photos in silence so that others’ reactions will not influence your own response. This is a time to allow yourself to react spontaneously to the photos. After making their selection the members retire and sit quietly. When all have completed their selection they are invited to take up their selected photo/s and return to their places. If two or more select the same photos invite them to sit near each other in the group so that they will be able to exchange the photo without difficulty or disturbance to the group.
BECKY Members are invited to share with the group the significance of their choice of photo. The facilitator may request the members to hold the image facing the group while they speak to their photos. In some instances it may be helpful to suggest an introductory phrase like “I choose this photo because…” When a member has finished speaking, the facilitator acknowledges the personal contribution by a smile, nod or ‘thank you’. The photo may then be placed on the floor in front of the participant. If program evaluation is the purpose of the Photolanguage event, the evaluator should consider: How to best record participants sharing (data). Examples might include a fellow recorder, a tape recorder or video. Sensitivity to type of participant (child, youth adult, fragile for some reason) Privacy issues, cognitive ability, length of time available, .
DIANE Choose 1 or 2 photos which will… Introduce yourself to the group Describe some aspect of yourself to the group Express some aspect of your work Help you to speak about an event in your life which you wish to share with the group Help you say what you feel at this stage of the course/seminar Express how you feel in this group at present Or Choose 1,2 or 3 photos which express an aspect of your life at … 1.School 2.Work 3.Home 4. Recreation As a group we shall summarize our reflections on theme that we have been discussing. I invite each of you to choose one or two photos to express you impressions of your experience at youth challenge camp. Or Please select one or 2 photos your views of our recent staff training. Summation Thank each of you for your thoughtful insights. Does anyone have anything they wish to add before we adjorn?
(Have entire group get up and look at photos then return to seats) After you have thought of the one that would best answer the question, go back to pick it up. (After everyone has returned to their seats, have them go back and pick up the photo they pre-selected. After they are seated, ask to move into small groups) One person speaks at a time, and participants are allowed to “pass” if they do not wish to comment. As a reminder in the execution of this focus group approach, think about the logistics. How are you collecting data if this is evaluation? Will you use recorders? Are they ready to go with tapes, batteries, cords, etc. Be prepared with whatever means you will be using to document the input from participants.
BECKY How to order http://peoplemaking.com.au/ Click on card sets Photolanguage 135 photos $59.95 The contact person that we corresponded with is Rosemary Allen and she can be reached at this email address: books@peoplemaking.com.au
Photographs symbolic and speak to viewer Photographs involve the application of cultural, sociological, psychological, spiritual, and photographic criteria May be used in variety of group settings such as spiritual development, special education, personal development programs, educational program evaluation Recommend method requires: 1. Evocative photos 2. Small groups 3. Environment 4. Sufficient time 5. An experienced facilitator 6. Consideration of purpose Photo Arrangement Groups Assembly and Focus Questions Choice of photos Exchange of Reflections in Group