*Join the Creative Diamond Collective of English Language Teachers if you want to share your Intercultural Communicative Competence Lesson Plan or improve on our collective teacher work in progress.
Teaching Language & Culture = Teaching Refinement in Sense-Making by Reflective Thinking.
Reflective thinking refers to the process of critically examining and analysing information by others, and comparing this information to one’s own thoughts, experiences, actions, and beliefs in order to gain deeper insights and understanding. It entails examining the reasons behind (textual) decisions, evaluating their meaning and consequences and outcomes to inform future actions by critical sense-making. Reflective thinking encourages self-awareness, introspection, and personal growth by encouraging individuals to question assumptions, recognise patterns, and make meaningful connections between different elements to enhance one’s knowledge and perspective. Reflective thinking empowers individuals to learn from their past experiences and apply their newfound knowledge of concepts creatively in real-life contexts. Also see our: Reflective Journal Format.
Our student format:
Our teacher format:
*Disclaimer: the formats above are being revised all of the time. Feel free to use, but do acknowledge primary and secondary copyright, please.
Very often, we expect students to write an analysis in a PEE-paragraph without a model, and then the teacher assesses the analysis, after which the student receives a grade and some individual feedback. Those are lost learning opportunities. We suggest always adding two steps as part of Assessment-as-Learning. See Example Barbie and Ken Lesson Plan.
Rationale of the ‘Collectively Negotiating Sense – Lesson Plan’
The “Collectively Negotiating Sense” lesson plan comprises two distinct stages that empower students to engage deeply with texts, collectively analyse and interpret their content, and creatively apply their newfound knowledge. In the first stage, students embark on individual think-pair-share formative and sessions using the thinking frames and using a scaffolded reflective journal, fostering active thinking and collaboration. This phase is a formative phase in which students and teacher both provide active scaffolded, differentiated feedback (who needs what, where, when and why). This collaborative process leads to the creative phase, where students collaboratively convert their conceptual understanding into new creative outputs, while continuously reflecting on their learning process. Stage one is a purely formative, examination phase based on examing a source text, and a model of an analysis of a different source text or a different concept within the same source text. Stage two is rounded off by a comparative (summative) presentation phase in which students themselves co-assess. The teacher provides a summative assessment of the products based on this co-assessment, but not necessarily. This is followed by an individual reflective and self-assessment phase which the teacher takes as basis of the teacher’s final summative assessment.
Lesson Plan Overview: Exploring Contexts of Creation and Interpretation
In this lesson (series), you will engage in a two-stage exploration of contexts of creation and interpretation following the method of Assessment-as-Learning, meaning that your teacher shows you how to learn from comparing work of others (models) to their own, focusing on your autonomy, cognition and relation (Deci & Ryan, 1985).
STAGE 1 THINKING: examining source text and analysis models
In this stage, we aim to:
Think critically about a model of text analysis.
Use thinking frames to organise our thoughts effectively.
Work together in groups to compare ideas and insights.
Give helpful feedback to each other, considering who needs what, where, when, and why.
Ask deeper questions through Socratic discussions.
Engage in thoughtful conversations guided by questions.
Use your Reflective Journal:
Note down your personal interpretations from the discussion.
Think about how thinking frames and Socratic discussions are helping.
Consider how your own analysis is influenced by this process.
STAGE 2 TRANSFORMING: creating and reflecting on source text or analysis model
Here, our goals are to:
Use our imagination and what we have learned to create something new.
Transform our ideas from Stage 1 into a different context.
Work together to make a clear and culturally aware final product.
Be creative in our thinking and ideas.
Discuss challenges and successes in the creative process.
Present your creation to the class.
Apply your understanding to produce new content.
Adapt your ideas into a new context.
Evaluate how well your group works together.
Show your teacher your creative and thinking skills.
Assess each other’s work for clarity and cultural sensitivity.
Use of Reflective Journal:
Write about how you turned concepts into a new text or a text analysis of your own.
Analyse your use of thinking frames and discussions.
Think about how your group worked together.
Sum up what you have learned about language, culture, and knowledge.
Reflect on the ways we are using different thinking methods.
Assess your own reflection.
In the future, we will use these skills in other topics to understand language and culture better. This way of learning will always help us analyse, interpret, and create texts. We will keep using Socratic questions, discussions, different thinking methods, and comparing and contrasting ideas. Our assessments will guide us, making sure we are learning and growing.
Teacher Structuring by Questions in ‘Thinking & Transformation Frame Textual Concepts‘
Stage I: Context of Creation and Interpretation
The first stage focuses on:
I.A. Examination of Text: analysis, interpretation and evaluation by understanding the concept-in-context within which a text or product is created, delving into the factors, influences, and intentions that shape thistextual formation. In other words, examine how (con)textual elements contribute to the overall meaning and significance of the work.
Pre-Definition: [Can you briefly define the concept in your own words before the analysis?]
Example from the Text: [Can you provide an example from the text that illustrates this concept?]
Personal Interpretation: [Can you share your interpretation of how this concept functions in the text?]
[Can you describe context of creation, audience, purpose, textual mechanics, features and literary devices?]
Example from the Text: [Can you provide examples from the text that illustrates this concept?]
Personal Interpretation: [Can you share your interpretation of how these textual features function in the text?]
Clarification: [Can you ask a question to help you better understand your concept in context?]
Eliciting Assumptions: [Can you ask a question that challenges what you think about your concept in context?]
Exploring Implications: [Can you ask a question that explores what might happen because of your concept in context?]
I.B. Examination of Model of Pre-Existing Analysis: they will then interpret and evaluate a model of a pre-existing analysis, based on a different concept and text, to learn how to produce a textual analysis and interpretation themselves.
Compare: [How does the concept of [insert concept] work in the analysis example? Can you see how it’s similar or different in your own analysis?]
Contrast: [What do you notice that’s not the same when you compare how [insert concept] is used in the analysis example and your own analysis?]
Synthesise: [What can you learn from comparing and contrasting these different ways [insert concept] is used in both analyses? How does it help you understand the text?]
Without such a model, the student does not know what is expected. When a student examines a model of textual analysis, they are engaging in a critical and thoughtful exploration of a pre-existing analysis, whether written or spoken, that serves as a guide or example. By closely studying the model, the student aims to understand the analytical techniques employed, the way the text is deconstructed, and the insights derived from the analysis. This process allows the student to grasp the structural and thematic elements that contribute to a comprehensive analysis. Through careful examination, the student identifies the strategies used to interpret the text’s underlying meanings, the evidence and examples presented to support claims, and the overall organisation and coherence of the analysis. This exercise not only enhances the student’s understanding of effective analytical practices but also empowers them to apply similar strategies to their own analyses, fostering the development of their analytical and critical thinking skills. This should proide the necessary readiness for Stage II to produce their own analysis.
Stage II: Context of Creation of Product (Comparative Assessment) and Reflection on Learning
II.A. In the second stage, students will delve deeper into the context of creation, this time focusing on their own creation of a product. They can create this product on their own, or in groups.
Innovative Connections: [How can you creatively connect the concept to a new context to generate new insights?]
Transformative Perspectives: [How might you view the concept to a new context from unconventional angles to spark creativity?]
Imaginative Applications: [In what imaginative ways could the concept be applied in a new context beyond the text’s context?]
The product is then presented to the whole group. The whole group will then do a comparative assessment by analysing their own work in relation to work of their peers. During the instructional conversation after the presentations of the products, a teacher might ask questions of reflection and questions of application:
Reflection:
What connections do you see between the concepts and the broader context of creation of the text?
How do these concepts contribute to your overall understanding of the text’s themes and messages?
How might these concepts relate to cultural aspects or real-life situations?
Application:
How might you use these concepts to analyse other texts or topics?
How could these concepts be applied to better understand cultural dynamics in different contexts?
In what ways can these concepts enhance your ability to critically engage with and interpret texts?
This exercise encourages students to apply their understanding of (con)textual factors to their own creative process and products. This process also promotes students as co-assessors. Besides, the teacher’s workload is reduced because assessing has become a visible, more transparant, co-assessment process and this way it becomes part of the learning itself.
II.B. Following the comparative assessment, students will engage in an individual reflective process to consolidate their learning. They will reflect on what they have learned about the dynamic interplay between contexts of creation and interpretation. Find reflection questions here too, in student’s wording:
How did I critically and carefully think about the text and the model during the first part?
How did I share and compare my ideas with my partner?
How did the special frames help me organise my thoughts?
Which questions during the examining & talking part made me think a lot, about what, and why?
How did the critical ideas from the first part influence the creative work in the second part?
How did I learn to create something new and unique?
How did I contribute to effective collaboration?
How did I contribute to a coherent final product?
Can I describe the different ways of thinking I used to produce the creative work?
What challenges did I face in applying what I learned to our project, and how did I overcome them?
What valuable lessons did I gain from this experience, and how can I apply them in the future?
Why is having learnt all of this relevant?
or in more abstract teacher’s wording:
How well did I apply critical thinking to the assigned text and model during the initial individual analysis?
How effectively did my collaborative efforts compare and contrast interpretations with my partner’s insights?
How did using thinking frames contribute to structuring and articulating my ideas?
What were the most thought-provoking Socratic questions I encountered during the think-pair-share process?
How did my initial individual analysis influence the collaborative text creation in terms of adapting and transforming ideas?
What innovative connections did I make between the conceptual knowledge from Stage 1 and the new creative product?
How did I contribute to the effective collaboration and development of a coherent final product?
Did I employ divergent and convergent thinking methods during the creative phase, and how did they impact the outcome?
What challenges did I encounter in applying knowledge to the creative process, and how did I overcome them?
How did reflecting on my overall learning journey enhance my understanding of language, culture, and the broader context?
Teacher might follow the method of a Think-Write-Share approach: first individual thinking and writing, then in a plenary (instructional) conversation or Socratic Seminar or Fish Bowl. This shared reflection will provide valuable insights into their growth as critical thinkers, creators, and interpreters, highlighting the significance of contextual understanding.
The student then self-assesses the reflection.
Final reflection and self-assessment will be submitted in written form to the teacher as part of a summative assessment. This way the teacher’s work is reduced to the assessment of the final reflection and self-assessment. Also, all learning is visible in the classroom and much of the learning and the work has already been done during the process. I have tried this out as a student and found that the self-assessment became the learning, and my teacher had become redundant. In fact, I thought that was a great way of being a teacher. Do not let teachers hear this, was my first reaction, being a teacher myself, of course. So, what has been described above is an ideal state, by no means can it be fully reached, except in the case of excellent learning by excellent learners. It is, however, a situation to be striven for.
Throughout the lesson, students will develop a deeper appreciation for the complexities of context in both creation and interpretation, enhancing their ability to critically analyse and engage with various forms of media, literature, and art. By exploring the multifaceted nature of context, students will gain valuable skills that can be applied across disciplines and real-life situations. Both step I.B and step II.B add to already existing practices.
Differentiated Assessment Rubric: Collectively Negotiating Sense – CEFR B2/C1 Level
A language teacher does not have to assess the product itself. The assessment of a presentation of a product can serve as an assessment of the product itself by evaluating how effectively the oral or written presentation showcases the key aspects, content, and quality of the product. The presentation offers insights into the student’s understanding of the product, their ability to articulate its concepts, and their communication skills. The clarity, coherence, and depth of the presentation provide indications of the thoroughness and thoughtfulness that went into creating the product. Additionally, the presentation may highlight the product’s strengths and areas that require improvement, allowing the assessment to encompass both the final output and the student’s ability to convey its essence to others.
Comparative Assessment Presentation of Product: students and teacher negotiate and co-assess.
Content:
Presentation Quality: Clearly presented the created content.
Conceptual Application: Demonstrated a clear understanding of analysed concepts.
Creative Elements: Incorporated innovative ideas into the presentation.
Cultural Relevance: Considered cultural aspects in the presented content.
Style:
Communication Skills: Spoke confidently and articulated ideas clearly.
Engagement: Captured the audience’s attention and maintained interest.
Visual Aid Usage: Effectively used visuals to enhance presentation.
Organisation:
Logical Structure: Organised the presentation in a coherent manner.
Sequential Flow: Ensured a smooth progression of ideas.
Transitions: Employed effective transitions between different sections.
Language:
Language Proficiency: Displayed a strong command of language.
Terminology Usage: Appropriately used subject-specific terms.
Clarity: Ensured clarity of expression and avoided ambiguity.
Self-Assessment of Individual Reflection
[Students should assess themselves]
Identification of your own learning aims.
Identification of your own learning process.
Identification of learning points.
Identification of points of Improvement.
Rubric
Content:
Analysis Reflection: Demonstrated insights gained from text analysis.
Creative Process: Reflected on the conversion of concepts into a new context.
Personal Growth: Explored personal development throughout the process.
Style:
Expression: Communicated reflective insights effectively.
Engagement: Engaged the reader through thoughtful reflection.
Individual Voice: Conveyed a personal perspective in the reflection.
Organisation:
Structure: Organised reflection logically with a clear flow.
Coherence: Ensured smooth transitions between ideas.
Thought Progression: Presented a well-structured and coherent thought process.
Language:
Language Use: Ues of proficient language in the reflection.
Vocabulary: Employed appropriate vocabulary to convey ideas.
Expression: Articulated thoughts clearly and effectively.
Teacher’s Comments and Feedback:
[Provide specific feedback and suggestions for improvement based on individual strengths and areas for growth.]
Overall Level of Performance: [Insert level of achievement: Excellent / Good / Satisfactory / Improving]
This comprehensive assessment rubric aligns with the categories of content, style, organisation, and language for each stage of the “Collectively Negotiating Sense” lesson plan. It enables teachers to evaluate students’ performance based on these essential dimensions, ensuring assessment of presentation skills, creative application, reflection, language proficiency, and more. The rubric is a practical tool that guides teachers in providing constructive feedback and nurturing students’ growth in diverse aspects of their learning journey.
This method in which the assessment process becomes the learning is called Assessment-as-Learnign or Language-as-Learning, and it aligns to the more recent developments within CLIL education, as well as the IB, or where the ACARA is going.
CLIL typically refers to a bilingual program where a foreign language is used as the medium for integrated learning of learning content within a subject matter. The subject matter of foreign language education is storytelling, story interpreting and story responding ranging from personal to literary narratives within time and space related cultural contexts. CLIL focuses on four pillars, known as the 4C-model: culture (developing intercultural competence), content (the subject matter), communication (learning and using the language), and cognition (learning and thinking processes) (Coyle et al., 2010). The transnational instead of national literature paradigm is probably useful (Risager, 2007). The Creative Diamond Collective added the fifth C in June 2014: Creativity. This website reports on how we are integrating Creativity by focusing on storytelling as an active rather than passive skill. Schat integrated literary skills as communicating with and about literature. We argue that ‘producing of literature’ needs to be added from within the fifth CLIL C of Creativity (Spierings, 2023) as an activating step by subjectivation (Biesta, 2018).
Mogelijk sluit het werk van Schat (2022) en Bloemert (2017) goed aan bij wat ik verder beoog met meer creativiteit in de Hele Taken Cultuur en Literatuur. Zie Schat (2022):
En zie Bloemert (2017):
Creative Diamond 5Cs CLIL FORMAT LESSON PLAN (find it here soon)
Other formats:
Writing Frame Englisch – Feldpost reduzierte Version (ecml.at)
11. CLIL Mondays_ Lesson plans_CJulian (learningthroughlanguages.org.uk)
Examples:
Microsoft Word – CLIL a lesson plan.doc (teachingenglish.org.uk)
CAM FP Session 3 – Lesson planning.pptx (weebly.com)
CLIL Lesson Plans | Teenagers | Onestopenglish
Ready made lesson plans
References
Biesta, (2018).
Byram, M. (2021). Teaching and assessing intercultural communicative competence: Revisited (2nd ed.). Multilingual Matters.
Coyle, D., Hood, P., & Marsh, D. (2010). Content and language integrated learning. Cambridge University Press.
Deci, E. L., & Ryan, R. M. (1985). Intrinsic Motivation and Self-Determination in Human Behavior. Springer Science & Business Media.
Janssen, T. (2009). Literatuur leren lezen in dialoog: Lezersvragen als hulpmiddel bij het leren interpreteren van korte verhalen. Vossiuspers UvA.
Liddicoat, A. J., & Scarino, A. (2013). Intercultural language teaching and learning. Wiley-Blackwell.
Risager, K. (2007). Language and Culture Pedagogy: From a National to a Transnational Paradigm (Languages for Intercultural Communication and Education, 14).
Schat, E. (2022). Integrating intercultural literary competence: An intervention study in foreign language education [Proefschrift, Universiteit Utrecht]. Utrecht University Repository. https://dspace.library.uu.nl/handle/1874/421109.
Spierings, M. (2023). Book to my Children: Then Snow. Orchid & Orphan Press.