The site is especially designed to assist teachers and students in Music, Arts, Physical Education and Health activities. There are suggested activities, tips, methods, and strategies to make lessons easier.
The Hudhud , a chanted epic poetry consisting of poems about heroism, honor, love, and revenge, was declared in 2001 by the UNESCO a Masterpiece of the Oral and Intangible Heritage of Humanity.
The Hudhud consists of narrative chants traditionally performed by the Ifugao community, which is well known for its rice terraces extending over the highlands of the northern island of the Philippine archipelago. It is practised during the rice sowing season, at harvest time and at funeral wakes and rituals. Thought to have originated before the seventh century, the Hudhud comprises more than 200 chants, each divided into 40 episodes. A complete recitation may last several days.
Since the Ifugao’s culture is matrilineal, the wife generally takes the main part in the chants, and her brother occupies a higher position than her husband. The language of the stories abounds in figurative expressions and repetitions and employs metonymy, metaphor and onomatopoeia, rendering transcription very difficult. Thus, there are very few written expressions of this tradition. The chant tells about ancestral heroes, customary law, religious beliefs and traditional practices, and reflects the importance of rice cultivation. The narrators, mainly elderly women, hold a key position in the community, both as historians and preachers. The Hudhud epic is chanted alternately by the first narrator and a choir, employing a single melody for all the verses.
The conversion of the Ifugao to Catholicism has weakened their traditional culture. Furthermore, the Hudhud is linked to the manual harvesting of rice, which is now mechanized. Although the rice terraces are listed as a World Heritage Site, the number of growers has been in constant decline.The few remaining narrators, who are already very old, need to be supported in their efforts to transmit their knowledge and to raise awareness among young people.
WHY?
• to increase flexibility and freedom of movement
• to reduce muscle tension
• to reduce the risk of muscle and tendon injuries
HOW?
• hold stretch for 10-20sec - DO NOT BOUNCE
• repeat each stretch 2-3 times • stretch gently and slowly, keep breathing
• stretch to the point of tension - NEVER PAIN
• select the major muscle groups used in your sport and stretch them through their full range of movement
ENTIRE STRETCHING SESSION SHOULD TAKE 15-20 MINUTES
To increase or maintain flexibility and muscle suppleness, a 20 min stretching session 2-3 times per week is recommended.
WHY?
• to help remove muscle waste products
• to reduce muscle soreness and stiffness
• to enable you to compete again at the same level within a short period of time
HOW?
• 2-3 minute light jog, or brisk walk immediately after sport
• 5-10 minutes of stretching (emphasise the major muscle groups you have used during your sport
The first grade teacher gave her class a fun assignment – to draw a picture of something for which they were thankful. Since it was the holidays, the teacher thought the traditional goodies would be the subjects of most of her students arts.
And they were. But Douglas made a different kind of picture. Douglas was a different kind of boy. He was the teacher’s true child of misery, frail and unhappy. As other children played at recess, Douglas was likely to stand close by her side. One could only guess at the pain Douglas felt behind those sad eyes. Yes, his picture was different. When asked to draw a picture of something for which he was thankful, he drew a hand. Nothing else. Just an empty hand.
His abstract image captured the imagination of his peers. Whose hand could it be? One child guessed it was the hand of a farmer. Another suggested a police officer. Still others guessed it was the hand of God. And so the discussion went – until the teacher almost forgot the young artist himself. When the children had gone on to other assignments, she paused at Douglas’ desk, bent down, and asked him whose hand it was. The little boy looked away and murmured, “It’s yours, teacher.” She recalled the times she had taken his hand and walked with him here or there, as she had the other students. How often had she said, “Take my hand, Douglas, we’ll go outside.” Or, “Let me show you how to hold your pencil.” Or, “Let’s do this together.” Douglas was most thankful for his teacher’s hand.
"The story speaks of more than thankfulness. It says something about teachers teaching and parents parenting and friends showing friendship, and how much it means to the Douglas of the world. They might not always say thanks. But they’ll remember the hand that reaches out."
Transfer manifests itself in a variety of ways. More specifically, we propose that understanding as transfer is revealed through six facets of understanding, summarized here. Individuals who understand and can transfer their learning:
Can explain: make connections, draw inferences, express them in their own words with support or justifi cation; use apt analogies; teach others.
Can interpret: make sense of, provide a revealing historical or personal dimension to ideas, data, and events; make it personal or accessible through images, anecdotes, analogies, and stories; turn data into information; provide a compelling and coherent theory.
Can apply and adjust: use what they have learned in varied and unique situations; go beyond the context in which they learned to new units, courses, and situations beyond the school.
Have perspective: see the big picture; are aware of, and consider, various points of view; take a critical or disinterested stance; recognize and avoid bias in how positions are stated.
Show empathy: perceive sensitively; can “walk in another’s shoes”; fi nd potential value in what others might fi nd odd, alien, or implausible.
Have self-knowledge: show metacognitive awareness; refl ect on the meaning of new learning and experiences; recognize the prejudices, projections, and habits of mind that both shape and impede their own understanding; are aware of what they do not understand in this context.
There is no mystery as to performance goals or standards.
Diagnostic assessments check for prior knowledge, skill level, and misconceptions.Students demonstrate their understanding through real-world applications (i.e., genuine use of knowledge and skills, tangible product, target audience).
Assessment methods are matched to achievement targets.
Ongoing, timely, and descriptive feedback is provided.
Learners have opportunities for trial and error, refl ection, and revision.
UbD focuses on helping students come to an understanding of important ideas and transfer their learning to new situations.
UbD reflects current research on learning.
As its title suggests, Understanding by Design (UbD) reflects the convergence of two interdependent ideas:
research on learning and cognition that highlights the centrality of teaching and assessing for understanding, and
a helpful and timehonored process for curriculum writing (Wiggins & McTighe, 2005).
UbD is based on eight key tenets:
UbD is a way of thinking purposefully about curricular planning, not a rigid program or prescriptive recipe.
A primary goal of UbD is developing and deepening student understanding— the ability to make meaning of learning via “big ideas” and to transfer learning.
UbD unpacks and transforms content standards and mission-related goals.
Understanding is revealed when students autonomously make sense of and transfer their learning through authentic performance. Six facets of understanding—the capacities to explain, interpret, apply, shift perspective, empathize, and self-assess—serve as indicators of understanding.
Effective curriculum is planned “backward” from long-term desired results through a three-stage design process (Desired Results, Evidence, Learning Plan).
Teachers are coaches of understanding, not mere purveyors of content or activity. They focus on ensuring learning, not just teaching (and assuming that what was taught was learned); they always aim—and check—for successful meaningmaking and transfer by the learner.
Regular reviews of units and curriculum against design standards enhance curricular quality and effectiveness.
UbD refl ects a continuous-improvement approach to achievement. The results of our designs—student performance—inform needed adjustments in curriculum as well as instruction; we must stop, analyze, and adjust as needed, on a regular basis.
Measures a student’s progress toward the attainment of a standard;
Indicates if the student has mastered the standard;
Is on going;
Clearly communicates expectations ahead of time;
Is authentic to the learning experiences of the students, based on complex tasks, as opposed to rote memory;
Occurs when appropriate, not just on scheduled days. Often uses tasks that reveal common misunderstandings so teachers can see whether students have truly learned the material;
Grades are based on the results of multiple experiences over time.
This policy is valid from 20 December 2007
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