Purposeful Play: Designs for Creative Teaching and Learning
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This document discusses purposeful play and creative teaching and learning. It provides frameworks and examples of designing courses to encourage play, participation, and open learning. Students are given choices in assignments, such as creating book trailers, reviews, discussions or other artifacts to demonstrate their learning. The goal is for students to take on new identities and participate in communities through open-ended, daily work. Courses should ask how they can reduce barriers to students' participation. Learning is framed as a social and participatory process.
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Purposeful Play: Designs for Creative Teaching and Learning
- 1. Purposeful Play: Designs forPurposeful Play: Designs for Creative Teaching & LearningCreative Teaching & Learning Purposeful Play: Designs forPurposeful Play: Designs for Creative Teaching & LearningCreative Teaching & Learning Kim JaxonKim Jaxon California State University, ChicoCalifornia State University, Chico Kim JaxonKim Jaxon California State University, ChicoCalifornia State University, Chico @drjaxon@drjaxon http://kimjaxon.comhttp://kimjaxon.com 1
- 2. Hello! This is Blue! 22 A Plan: • Frameworks for play and learning • Examples • Questions
- 3. 33 “In play, a child always behaves beyond his average age, above his daily behavior. In play it is as though he were a head taller than himself.” —Lev Vygotsky
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- 5. Jean Lave & Etienne Wenger Etienne Wenger Learning as Social, as ParticipationLearning as Social, as Participation 5
- 6. Designing courses with these ideas in mind: • Play. Does not mean easy or fun, per se. But it does mean imagining new ways of being. Who can students be in my class? What identities can they take on? • Open, Open, Open. Use resources (both digital and face to face) to connect students to actual communities they wish to join. • Deliverables. Students make. Work with course ideas and materials to produce something every day. Always asking: How am I getting in the way of students’ participation? 6
- 7. “the term participation describe[s] the social experience of living in the world in terms of membership in social communities and active involvement in social enterprises” --Etienne Wenger 7
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- 11. Example: English 341 Reading Literature for Future Teachers 11
- 12. Artifact Assignment You will have a lot of choice here in how you (or as a group) decide to share your books. You can create a visual map, a book trailer (using our iPads and iMovie) or short film, post a review on Goodreads and tweet about the text, lead a discussion about the book on Twitter, give an Ignite talk, act out a scene for our class, write fanfiction…lots of possible ways to share. You can decide to do your own thing or work in teams. Here are some great examples from last semester. 12
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- 15. Hailee and Samantha blog about the Weenies series… 15
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- 17. small moves 17
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- 19. Eli and Bre 19
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- 22. Digital: blogs and twitter Analog: notebooks, letters… 22
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- 29. What is the “why” of your class? Why should students take it or be in it? How will they be changed by it? What is your discipline’s or classroom’s “why”? Why does it matter that students take __________ class or become _________ists? What site and/or classroom resources are available in order to design for making, playing, and open learning? 29
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Editor's Notes
- I want to talk about frameworks and ways of thinking about learning that guide my course design. Vygotsky on Play. Not trivial. Some might argue: If you’re playing, you are not doing real work. In fact it may be that it is through making, playing, etc that we solve the world’s problems. Tinker, explore, suspend disbelief. If not in higher ed, then where? Our classrooms should be a space of innovation, a space to fail without huge risks, a place for iteration, play…
- Participation and Community frameworks arise from Lev Vygotsky, the Russian psychologist, and Neo-Vygotskian scholars who research situated learning and distributed learning.
- The research discussed in these texts is not focused on schools. Lave & Wenger set out to rescue the idea of apprenticeship.
- For the past few years, I’ve thought carefully about course design, particularly focusing on participation, community and open education.
- Build participation into the ideology of the course design. The way we make use of a term like participation is in need of rescuing: moving away from a limited view of participation as it is often linked to motivation, engagement, or hand-raising and toward the view that participation as a concept is more generative when connected to the idea of membership in communities of practice, which I borrow from Lave & Wenger. Reviewing syllabi in many of the GE courses on our campus, participation is often listed as 5%, 10%, or in rare cases, as high as 50% of the grade in a course. But I find this to be an odd way to think about participation:
- demonstrating engagement by hand-raising and talk are fairly limited views of participation, and in fact, these ways of being are more connected to performance—acting like a student—than participation. We certainly want students to participate more than 10%, of even half, of the time.
- Are they participating when they are listening and pondering the ideas of their peers? Yes. In thinking about course design, I consider how students become members of our classroom community, the university, and our discipline. In fact, I think a lot about why students should take my course…or be in my field. And I’ll ask you all to think about this too (and build on this in the workshop with Peter Kittle tomorrow)
- Ultimately, I start course design with some basic things about being human: Everyone wants to be seen and heard and that they are needed to make things work.
- https://vimeo.com/94441791 http://kimjaxon.com/engl341 http://connectedlearning.tv/connected-learning-principles
- Book trailer: mrschureads.blogspot.com/ ; short film: https://vimeo.com/76542274 ; Goodreads: https://www.goodreads.com/review/list/2123569?sort=review&view=reviews; tweet: https://twitter.com/search?q=#dollbones&src=typd ; Ignite Talk: www.youtube.com/watch?v=ZztLac0Q1EI ; fan fiction: henryjenkins.org/2006/09/fan_fiction_as_critical_commen.html
- Examples: kimjaxon.com/?p=179
- Young adult and children’s authors retweet and respond.
- www.kimjaxon.com/engl341/?p=3019 www.kimjaxon.com/engl341/?p=3028
- Sometimes when I talk to teachers, they worry that following some of the design principles, like making your course more open, means they have to host a MOOC. Or go digital or do extra labor on top of the exhausting day they already have. But I am a fan of small moves. Sometimes, I just have two classes I am teaching become penpals…responders to each other’s writing. Kind of a secret responder. Sometimes, I invite colleagues into my class to talk with students. I am sure we can imagine many times we’ve already connected our students… Connected students to communities that exist on the planet…people who share their interests.
- www.kimjaxon.com/engl341/?p=4368
- www.kimjaxon.com/engl341/?p=5416 www.kimjaxon.com/engl341/?p=5238
- Artifact day with 8th graders and college students.
- More on the science inquiry course shown here: http://kimjaxon.com/?p=140
- Rough Cut Film Festival: http://kimjaxon.com/?p=84 Ignite & Maker Night: http://kimjaxon.com/?p=117
- Course designs focused on making, playing, and open learning for me is about choice, going outside, peer support, venues for sharing, inviting community into our class, modeling our practices… like reading for members of our campus community
- From Unit 1 of Connected Courses: Why We Need a Why http://connectedcourses.net/thecourse/why-we-need-a-why/
- Do all the playful things. [email_address]