D.

Guidelines For Evaluating IE Programs-Evaluating the School and the Student Articulate here what principles should guide evaluation of IE in schools/classrooms. What questions should be asked? Are there considerations specific to teachers? Administrators? Parents? What kinds of "performance indicators" should the Ministry of Education be looking for to assess whether its schools are doing well? Is IE delivering what it claims to? Why/rationale for using a rubric that is modeled after a story/plot? For Egan, 1) All knowledge is human knowledge (situated in a socio-historical/cultural context) 2) All knowledge is a product of human hopes, fears and passions 3) To bring life to knowledge we must introduce it within the context of human hopes, fears and passions 4) This is the way students derive the biggest meaning Mythic Story is one of the most powerful cognitive tools students have available for imaginatively engaging with knowledge. Stories can shape real world content as well as fictional material. It is this real-world story-shaping that promises most value for teaching (p. 2 and Imaginative approach for teaching) All oral cultures use story What stories are and what they do for us o They tap into the human emotion for us o If the key in education is to create more emotionally engaged, (my metanarrative: compassionate people, stewards, responsible), they must first be in touch with the human o They must practice being in touch with their emotions and must be able to draw understandings from it o The absence of emotion, is almost like the absence of values o Stories embed our understandings within a human (socio-cultural) context for understaning o stories are instruments for orienting human emotions to their contents. That is stores do not just convey information about events and characters, nor do stories just convey information in a way that engages our emotions; stories orient, or shape, our emotions to the events and characters in a particular way they tell us how to feel about their contents. (p. 10 Imaginative approach for teaching) o The great power of stories is that they form 2 tasks Effective at communicating information in a memorable form Orient the readers feelings about the information being communicated

o o o o o

Stories is one of the most effective way to encode social information p. 11 Stories carry a moral about the virtues of our country or people, highlighting our beliefs and values over those of other countries or peoples p. 11 Stories shape events into emotionally meaningful patterns p. 11 Stories provides us with the security of knowing how to feel, because stories end. It is this sense of an ending that shapes meaning. Story gives shape to the content as an assessment tool, the story marking scheme, however it develops for the student is plot progression of how they understand the content

Metaphor is the tool that enables us to see one thing in terms of another. This peculiar ability lies at the heart of human intellectual inventiveness, creativity, and imagination. It is important to help students keep this ability vividly alive by exercising it frequently; using it frequently in teaching will help students learn to read with energy and flexibility. P. 3 in Imaginative approach for teaching) Binary opposites are the most basic and powerful tools for organizing and categorizing knowledge. WE see such opposites in conflict in nearly all stories, and they are crucial in providing an initial ordering to many complex forms of knowledge. The most powerfully engaging opposites like good/bad, security/fear, competition/cooperation are emotionally charged and, when attached to content, imaginatively engaging. P. 3 in Imaginative approach for teaching) Rhyme, rhythm, and pattern are potent tools for giving meaningful memorable, and attractive shape to any content. Their roles in learning are numerous, and their power to engage the imagination in learning the rhythms and patterns of language and the underlying emotions that they reflect is enormous. They are important in learning all symbol systems, like mathematics and music, and all forms of knowledge and experience. P. 3 in Imaginative approach for teaching) Jokes and Humour can expose some of the basic ways in which language works and, at the same time, allow students to play with elements of knowledge, so discovering some of learnings rewards. They can also assist in the struggle against sclerosis of imagination as students go through their schooling helping to fight against rigid conventional uses of rules and showing students rich dimensions of knowledge and encouraging flexibility of mind. P. 4 in Imaginative approach for teaching) Mental imagery is a tools of immense emotional importance, influencing us throughout our lives. In societies saturated by visual images, such as those of all Western and most Eastern countries today, it is perhaps increasingly important to allow students space to learn to generate their own mental images. . Often the image carries more imaginative and memorable force than the concept alone can hold. Together they can be even more potent. The use of mental images (as distinct from external pictures) should play a large role in teaching and learning. P. 4 in Imaginative approach for teaching) Gossip

Play

Mystery is an important tool in developing an engagement with knowledge that is beyond the students every day environment. It creates an attractive sense of how much that is fascinating remains to be discovered. All the subjects of our curriculum have mysteries attached to them, and part of our job in making curriculum content known to sutdents is to give them an image of richer and deeper understanding that is there to draw their minds into the adventure of learning P. 5 in Imaginative approach for teaching) Embryonic tools of literacy drawing from students ZPD Note cultural tools, when learned, become cognitive tools p. 7 Imaginative approach to teaching the imaginative approach to education emphasizes teaching and learning focused on the acquisition of the main cognitive tools that connect students imaginations with the knowledge in the curriculum, on the one hand, and enhances the powers of their brains in general, on the other. One important contribution that developing imagination makes to thought is to increase its flexibility, creativity and energy. The aim of IE is much more knowledgeable student s who are able to think flexibly, creatively, and with energy about the knowledge they gain about the world and experience (p. 9 Imaginative approach to teaching) Principles to Evaluate IE Components of a Story as the principles to Evaluate IE Introduction Hero/heroic quality setting Organization of the plot rising action conflict is presented Characterization appealing to the human emotion

Questions to ask students in an IE program:

Questions to ask teachers in an IE program:

Questions to ask Administrators Can administrators re-write or rethink their school mandates in terms of plot development or characterization of a student? What is the story they want for their school? What is

Performance Indicators the Ministry of Education should be looking to assess whether students are doing well: Students are doing well if (from egans
Egan, Kieran. Layers of Historical Understanding. Theory and Research in Social Education 17.4 (Fall 1989): 280-294.

Do students possess, affective orientation: Affective orientation, which involves shaping the factual content into a story

their school a story of? Is it just a success story like that of Tony Robins or is it a journey of actualization for students? Are we prepared to change the language of our assessment to this storyscheme? Are administrators willing to reconceptualise learning as a developmental process the unfolds similarly to a story unfolding Are administrators willing to give teachers license to reshape that story each year as student stories differ each year

shape; Can students locate binary opposites and then determine how the content mediates between the two opposites: Abstract binary opposites, which provide access to the content[while teachers] can then mediate between them and make understanding more sophisticated; To what extent has the student transcended beyond the basic understanding of the concept to something that is wonderful, or heroic? The heroic, which calls for emphasizing those qualities of the chosen content that transcend the everyday and conventional sense of them; To what extent has each student gained distance and perspective? Detail and distance, which relies upon shifting perspectives; Are students able to locate the wonderful? The exotic, wonder, and awe, which proposes beginning with the most exotic and least familiar, piquing students curiosity, and pointing out mysterious qualities underlying the everydayness of things; and

What value has the student earned for him/her self in a wider context? What is the moral of the story learned? Humanizing knowledge, which by locating [content] as meaningful in others lives, [helps] students [to] gain a better imaginative sense of its meaning (286287).

Conflict person vs. person person vs. him/herself person vs. environment Resolution falling action conclusion Conventions literal artistic scientific concepts Since egan emphasizes the story as part of the key that unlocks the imagination for its capacity to engage at the human/emotional level, it should follow then that the principles to assess IE in schools should follow the same model that we judge a great story. To that extent the evaluation must contain the same components as a story does It must have an introduction where we meet the hero; can students identify what is heroic about what they are learning? Can they clearly articulate why this topic heroic? Setting: is the student able to use vivid, description in their description of this unit. Are they able to situate the content to their lives, to their communities?

Organization of the Plot: does the students ideas follow a logical progression. Is that clearly articulated in their work. As they move from scene to scene, a metaphor for developing a higher level understanding, is their transition to that type of understanding clear in their work? Characterization: how well are students able to identify all the key players in the story. How well do they articulate the dynamics between characters? The rising action of the story is the content -knowledge students must be able to display all the factual pieces of evidence that actually make the story historically and contextually correct. Assessment questions should include things like are students able to clearly and accurately name the evidence that makes the story real for them At some point in the story the student is faced with the conflict if we are speaking of a student who is at a romantic level of understanding, this is quite literally the people involved (person vs. person), person vs. self, person vs. environment etc Can the student tangibly name the conflict presented in the unit? With the actual concepts. If we are speaking of a student in a philosophic or ironic understanding the conflict is in with the student themselves. Are they able to identify the wider historical conflict or philosophic conflict presented in a unit. Are they able to establish anomalies. How has their search for truth conflicted them? In what capacity are they displaying this conflict. Falling action to resolution: the student must find some way to resolve this new knowledge to who they are. Who are they now after they know this? Are they action oriented in a particular direction? All this is embedded in creating a common language for assessment, just as language is common to both the reader and author of a story. A 7 year old is unlikely to pick up a copy of Pride and Prejudice and as such they do not possess the same language. Instead, the kind of story and language and evaluation methods should be mirrored after the students range of understanding. Conventions: grammar, spelling, syntax etc
Readings GUIDING QUESTIONS What questions should be asked? Are there considerations specific to teachers? Administrators? Parents?

Articulate here what principles should guide evaluation of IE in schools/classrooms.

What kinds of "performance indicators" should the Ministry of Education be looking for to assess whether its schools are doing well? Is IE

delivering what it claims to?

Trotman, Dave. (2006, May 2). Evaluating the imaginative: Situated practice and the conditions for professional judgement in imaginative education. International Journal of Education & the Arts, 7(3). Retrieved [date] from http://ijea.asu.edu/v7n3/.

Necessary Conditions for Educational Evaluation: Before the development of a shared evaluative language can be entertained, the necessary conditions for educational evaluation must first be created, and these conditions involve educators in the cultivation of their own imaginative lifeworlds as a professional practice. P. 1
It must be an accepted notion that: imagination emerges as an essential human capacity. It is all the more surprising, then, that the education of the imagination continues to reside at the periphery of educational policy in England. P. 2 The Problem:

Ask what teachers believe as the definition of imagination? Are teachers invested in tapping into the imaginative capacity? What are teachers, administrators, and students understanding of the imagination? This must be our first question.

lack a shared language to enable clarity and precision about their judgements when discussing new or difficult aspects of pupil learning (Hargreaves, 2004, p. 28). P 2 teachers "lack an agreed discourse for what they already know as part of the traditional culture and wisdom of the profession," and that "arcane, pedagogic jargon: the technical language devised by academics is alien to most teachers" (Hargreaves, 2004, p. 28). P. 3 Solution: Create evaluative language

What do we want to include in our new language of assessment? to facilitate children's conversations in which pupils are encouraged to visit each other's worlds. Here, conversational principles and mediation strategies are developed in conjunction with parents and staff. P. 13 use of the "lesson study" in which a collaboratively planned lesson becomes the platform for gathering data on the quality of student experience, with emphasis being placed upon "listening to the views of students in a way that tends to introduce a critical edge to the discussions that take place" (Ainscow, 2005, p. 4). P. 13 educational managers have been engaged in practices focusing on self-awareness, problem

based learning, creativity and values; central to this enterprise has been the use of Action Learning Sets. Action Learning Sets are a well-established practice in other employment contexts (Bourner and Frost, 1996; Cusins, 1996) and are designed to encourage a fully participative approach in which trust, articulation of perceptions, meaning making, and deep reflection are central to the process p. 13 trust p. 13 the evaluative process is undertaken as a partnership in teacher-pupil interpretation. P. 13
Connoisseurship and criticism models The work of Elliot Eisner (1985, 1998) in this province is, of course, substantial, in which ideas around connoisseurship and criticism have been developed as central dimensions of practice in educational evaluation p.3 at the top Focus on the Teacher & Student Voices The promotion of sensitive observation as a high order professional practice, and student participation in evaluation are also prescient features of Egan's (1992, p. 150) well-established work in imaginative education p. 3

NEW PROFESSIONALISM NECESSARY FOR TEACHERS: For the educational evaluation of imaginative practice to be both trustworthy and meaningful, it demands a form of educational practice that attends to four dynamics of professional work: Disposition, Interpretation, Communalisation, and Articulation P. 11

Hence, as I shall argue, authentic and agreed discourses that

embody shared language cannot be developed without "pupil voice" Rudduck and Flutter, 2000; Fielding and Rudduck, 2002) p. 3top of 4. Put in the missing modes of evaluation

school self-evaluation in the UK, Saunders (1999) has argued for the instatement of "missing modes" of evaluation, embodying "encouragement of creativity and imagination" and "the development of insight and empathy. P. 3

1. Disposition, This involves professional educators in their own solitary and intra-subjective work in the cultivation of emotional literacy and the watchful mindful awareness of self. It requires the application of bracketing: the avoidance of conditioned predispositions and prejudgement. It necessitates emotional intelligence, in which personal feelings, emotions, moods are educationally and professionally contextualised. It is the development of refined professional judgement in the affective realm and is the reciprocal of the pupil's solitary, contemplative imaginative lifeworld. P. 11 2. Interpretation, scrutiny through the interface of connoisseurship and criticism: "to notice or experience the significant and often subtle qualities that constitute an act, work, or object" (Eisner, 1998, p. 85); "educational critics are interested not only in making vivid what they have experienced, but in explaining its meaning" (p. 95), "through the artful use of critical disclosure" [italics added] (Eisner, 1985, p. 93). P. 11 In the practice of disclosure, interpretation meets the dynamics of communalisation and articulation through the medium of "pupil voice" 3. Communalisation & 4 Articulation

In making educational evaluation of the imaginative amenable to communalisation, the following are offered as just some of the ways in which "pupil voice" can be realised in interpretation and evaluation:
International Journal of Education & the Arts Vol. 7 No. 3 12

observed pupil responses - behaviours, reactions, expressions of mood, emotions and feelings and ideas recorded conversations pupil interactions forms of pupil writing - prose poetry, diaries pictures and images photography animations, storyboards and videos choreography composition improvisations and presentations. Situated Spaces
forms of imaginative engagement can be seen as situated practices (Lave and Wenger, 1991). These practices, in turn, necessitate particular conditions for professional judgement in imaginative educationP. 3

An extension of the student-voices component but this is about a community of markers:

By definition, an inclusive approach to the evaluation of imaginative education becomes a form of meta-affective learning, involving both private/solitary and public/collective practice for teachers and pupils as facilitators and connoisseurs. None of this is possible without imaginative experience, in educational terms, being subject to personal interpretation and intensive forms of what Moustakas (1994, p. 95) calls communalisation. P. 4 We should be asking to what extent does the program/teacher etc recognize the 6 situated spaces as valid this requires educators to first attend to the conditions for the development of an agreed discourse. Six Situated

What is teachers and administrators understanding of these situated spaces? Have they bought into the validity of the 6 in fostering the imagination?

Teachers must have performance indicators if they are to carry out an IE program:

Practices in the Imaginative p. 4

1. The solitary imagination 2. The contemplative imagination 3. Imaginative correspondence 4. The contributory imagination 5. Imaginative dissonance 6. The reciprocal collective imagination

This calls for three critical dimensions of professional practice in which educators must: 1. cultivate and "vivify their own feelings" (Egan, 1992, p. 113), 1. To what extent has the solitary 2. develop their own emotionally intelligent practices in imagination been engaged in the which personal feelings, emotions and moods are cultivation of personal educationally and professionally contextualised consciousness? (Goleman, 1996, 1998), and 2. educators must articulate the value of 3. avoid "colouring the other's communication" with solitary imagination for the imbued personal habits of thinking, feeling, seeing, development of scientific concepts see labelling, judging or comparing (Moustakas, 1994, 89). p. 5 P. 6 3. Facilitative non-intervention embraces and extends beyond a development of teachers" emotional mindful awareness of the pupil and affective capacities in evaluative judgement. In the experience - what Kounin (1970), in first two of these dimensions it writing on classroom management, requires teachers to commit to a conscious engagement describes as "withitness." In this sense with their own affective and of its use, withitness involves deep emotional lifeworlds. understanding and refinement of teacher interpretations, embodying:

4.

5.

6.

7.

8.

perception, intuition, affect and meaning.Such interpretation would appear to be practically impossible, and ethically suspect, without educators calling forth interpretations of their own situated, solitary, affective and imaginative practice. P. 6 On the one hand, educators need to be conversant with their own solitary imaginative lifeworlds, while on the other hand, be able to develop practices in deep situated mindful awareness without recourse, paradoxically, to particular forms of judgement: namely, sitting in judgement development of teachers" emotional and affective capacities in evaluative judgement. In the first two of these dimensions it requires teachers to commit to a conscious engagement with their own affective and emotional lifeworlds. P. 6 In the second of these dimensions it requires a commitment to practices that enable the avoidance of conditioned predispositions and prejudgement. P. 6 Combined with the development of a professional emotional and affective conscious, this creates conditions for deep withitness p. 7 The connoisseur of anything - and one can have connoisseurship about

anything appreciates what he or she encounters in the proper meaning of the word. Appreciation does not mean necessarily liking something, although one might like what one experiences. Appreciation here means awareness and an understanding of what one has experienced. Such an awareness provides the basis for judgement. (92)

2. The contemplative imagination

3. Imaginative correspondence

1. In pedagogic terms, the "teacher" of imagination is in the mode of the facilitative, in which practice extends from the deep "withitness" necessary for creating the conditions for solitary imaginative practice, to that with a deeper critical edge in which "an understanding of what one has experienced" (Eisner, 1985, p. 92) is proactively sought, facilitated, and independently interpreted by the pupil and teacher. P. 7 2. In the words of Heschel (quoted in MacBeath and McGlynn, 2002, p. 32): "we must learn to know what we see rather than seeing what we already know." 1. "ability of the facilitator to reflect thoughtfully on the conditions at hand and respond appropriately in the best interest of the learner"; and giving full recognition in practice that "" 'lived' experience always belongs to and is never taken away from the

4. The contributory imagination

person who is experiencing and reflecting" (Russon, 1993, p. 29). P.8 2. empathic development--an ability to appreciate the feelings of other people with whom we are not similar (Gould, 1990, p. 1172); a form of "emotional knowing" in which one projects oneself into the physical being of the other (Holden, 1990, p. 72). P. 8 3. this also requires of the educator the refinement of their own practices in professional empathy - as a "learned communication skill" (Kunyk and Olson, p. 2001). Further, it requires an orientation to interpretive criticism, which Eisner (1985) describes as: an effort to understand the meaning and significance that various forms of action have for those in a social settingto answer these questions requires a journey into interpretation, an ability to empathetically participate in the life of another, to appreciate the meanings of such cultural symbols. (97) p. 8-9 1. This is the province of the collective in which the solitary imagination meets social interaction and public expression p. 9 2. In communalisation there is what Moustakas describes as a continuous alteration of validity through reciprocal correction that leads to complete layers of meaning (1994, p. 95) - an elaborate form of criticism in the public medium. In this sense imaginative practice is transformational practice. P.9 3. In terms of evaluative educational

5. Imaginative dissonance

practice, imagination is made manifest in expressive and contributory ideas, actions, and language, enabling situated educational practice to be observed, discussed, and recorded. Through communalisation, teacher interpretation takes on a new and critical dimension in which imaginative practice becomes increasingly amenable to teacherpupil interaction. P.9 4. Pupil voice" becomes a central pedagogic dimension of such practice, in which new orders of experience are created through the active participation of pupils in the educational process (Rudduck and Flutter, 2000). Furthermore, communalisation clearly extends beyond simplistic versions of "group work" and "group discussion" in which traditional orthodoxies of individualised learning are commonly reinforced (Corden, 2001). This is the province of transformative imaginative practice, and its evaluation requires astute sensitive interaction and observation, interpretation, sharing, and reporting. P. 9 1. Cognitive and emotional tension is both a natural and necessary dynamic in solitary and communal practice. It is a hallmark of creative processes, in which flexibility and tolerance of ambiguity are crucial (Cropely, 2001), and provides the impulse for particular enriched metacognitive, meta-affective learning and problem solving p. 10 2. In evaluative terms, this is the process of imaginative realisation and development in

6. The reciprocal collective imagination

the public domain, in which learning is socially situated and amenable to a range of evaluative approaches and techniques p. 10 1. is characterised by community, unity, mutuality, confidence, reflexivity and connectivity. These are the experiences in which collective imaginative action is undertaken and celebrated with seeming effortlessness and common and often unspoken purpose: a form of communal "in flow-ness" p. 10 2. it is a unique form of communitas: a collective consciousness that is the hallmark of mature and responsive imaginative engagement. It is imaginative correspondence on a large scale, involving inter-subjective and interpersonal imaginative action at the level of community p 10 3. Crucially, in the collective-reciprocal the imaginative educator is positioned as both the co-creator of knowledge and co-learner in the words of one participant in my own research: p. 10

Read something on Eisners criticsm and connoisseurship models Find something where Egan says new higher order professionalism is required Find something on

student voices Find something on communalism

E. An Example. Provide a detailed example of how one aspect of an IE program might be evaluated. Clearly define your context or what aspect of evaluation you'll look at. So, for example, indicate what you are looking to measure and how this evaluation "tool" would help determine if IE is achieving it objectives-does it assess student engagement? If so, how? Does it assess if imaginative engagement is contributing to learning? If so, how? Does it evaluate an IE school overall? Does it align with the beliefs/values underlying IE? Does it look more broadly at the IE theory itself?

Affective orientation, which involves shaping the factual content into a story shape; Abstract binary opposites, which provide access to the content[while teachers] can then mediate between them and make understanding more sophisticated; The heroic, which calls for emphasizing those qualities of the chosen content that transcend the everyday and conventional sense of them; Detail and distance, which relies upon shifting perspectives; The exotic, wonder, and awe, which proposes beginning with the most exotic and least familiar, piquing students curiosity, and pointing out mysterious qualities underlying the everydayness of things; and Humanizing knowledge, which by locating [content] as meaningful in others lives, [helps] students [to] gain a better imaginative sense of its meaning (286-287).