Views & Opinion
Peer-to-peer learning – the emerging answer to effective
alternative provision Comment by Anne Morris, founder of Yipiyap
Empowering children
through music Comment by Mat Andasun, multi-instrumental performer, composer for TV and film, and music practitioner for education
Arguably one of the With the ever-changing goals for head teachers, as well as their staff
and pupils, schools are (rightly) judged for the improvements in students’ attainment, and one field where this is particularly pertinent is alternative provision. The introduction of alternative provision for students who have been –
or are at risk of being – excluded has, however, always been a contentious issue for schools, despite being something that virtually all of them face. With traditional techniques having the potential to backfire, one solution is the concept of formal peer-to-peer learning. Difficulties in implementing alternative provision often arise from the
complexities of the underlying issues affecting the children in question, who are typically excluded due to having behavioural issues or long-term medical conditions, or being school-refusers or low-level disrupters. As such, an alternative provision model must be carefully considered. One option is to place the child in isolation, with a teacher or teaching
assistant providing one-to-one provision. However, as well as stretching existing staff resource, such an intense situation has the potential to be overwhelming to a child who may already exhibit resistance to authority figures. Another option is to give the student work to do on their own without
support, but this has the potential to destroy motivation altogether and lead the student to fall out of the education system altogether. This is where peer-to-peer learning comes in. Interacting with people other than teachers on a one-to-one or small
group basis, away from a conventional classroom environment, often feels more like a joint effort towards attaining educational goals. If the person delivering the provision is in just a slightly higher age bracket and remains approachable and ‘down with the kids’, even better. One feasible option, then, is to utilise tutors of school-leaving age, who are likely to inspire and connect with those they tutor. Understandably, there may be concerns surrounding such a unique and
non-traditional concept. Perceived lack of experience in the tutors can leave decision-makers with reservations, as can the belief that they won’t be able to manage challenging children’s behaviour. However, as long as the pupil has no history of violence – where this sort of tutorage would not be appropriate – then there’s no denying that the supportive and more relaxed dynamic is likely to motivate otherwise disengaged students. This increased receptiveness and willingness to learn has a clear impact
on students’ results, and tutors quickly develop a connection which extends beyond the subjects they’re teaching to become more of a mentoring role. As a result, pupils start to recognise the benefits to be enjoyed from engaging in work and passing exams, which ultimately shapes their future. Now is the perfect time for schools to consider options available to
help every pupil – each with varying needs – to maximise their achievement, and formal peer-to-peer learning is a promising key to unlocking hidden potential.
September 2015
greatest instrumentalists in the history of rock music, Jimi Hendrix, once said, “If there is something to be changed in this world, then it can only happen through music.” Hendrix, like many visionaries throughout history, understood the power of music. As a father and practising
musician, I’ve always been keen to find ways of engaging children in music technology that emphasises fun and group work, and recently developed a new music software programme to do just that. Designed for early years, Key Stages 1 and 2 and SEN, Mr Mangle’s Magical Music Factory, allows children to use sounds from the environment to not only develop their musicality, but also their language and communication skills in a creative and fun way. Imagine being six years old and being able to transform your voice into that of a giants, or turning the sound of keys into a spaceship taking off? All children are limited by is their own imaginations, and as we all know, children’s imaginations know no boundaries. Using music technology with young children relies on speed; the trick
is to make sure that the gap between the children making a sound and them being able to play that sound from a midi keyboard is as brief as possible. All they have to do is press record on the software, speak or make a sound into a microphone and then press stop. The sound is recorded, and once they realise that pressing the keyboard plays ‘their’ sound, they are hooked. They want to experiment further, understand more; they are completely in the moment, focused on this strange re- imagining of ordinary sounds, all the while developing their musicality without even realising. In fact, during one session, I had one little five year old excitedly ask
if we could put his rocket sound in a cave. His strange request was in fact to add reverb to the sound; he had learned what reverb sounds like and how to use it, although he didn’t know the correct term for it at the time. Not only that but using singing, telling stories and playing instruments
alongside the software has been proven to improve the personal, social and emotional development of young children who are at higher risk of delayed development: building their communication, language and literacy skills through music technology and storytelling. The children also learn to work in pairs and as a team to accomplish
their tasks; as with all the best music work, there is as much active listening as there is active creation. They have to learn a whole new lexicon to discuss sound and its manipulation. The development of the story, which is done as a group, encourages them to articulate the depths of their imagination and to feel a sense of pride and ownership. Even at its most basic level, music has the power to transport and
transform. Don’t believe me? Take a humble CD player and play the Beach Boys’ Surfin’ USA, on the loudest volume setting for your pupils, sit back and observe. I’d be really surprised if at least half the class didn’t automatically stretch their arms out and pretend to be riding waves on a surfboard.
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