“I believe that work of excellence is transformational. Once a student sees that he or she is capable of excellence, that student is never quite the same. There is a new self-image, a new notion of possibility. There is an appetite for excellence. After students have had a taste of excellence, they’re never quite satisfied with less; they’re always hungry.” (page 8, ‘An Ethic of Excellence’ by Ron Berger)
One feedback strategy I have found helped enhance the writing of my students so far this year was the use of ‘gallery critique‘. The initial inspiration came from Ron Berger, whose ‘Ethic of Excellence‘ provided inspiration in the pursuit of motivating students. Like any teaching and learning strategy, it is far from flawless, but I think that having trialled it extensively with different groups, from students to teachers themselves, in staff training, it was well worth nominating.
After having selected the ‘gallery critique‘ strategy to meet the #blogsync brief of identifying a strategy that elicits motivation, it transpired that David Didau then wrote a peerless summary of the strategy here. This synthesis of research, expressed so skilfully, did make me think that my post had become rather redundant, but I wanted to explore some of the evidence base for the effectiveness of the strategy – particularly my specific use with my GCSE class.
More broadly, the evidence base for the effectiveness of feedback and assessment for learning is sound and thorough. Feedback has the greatest impact in John Hattie’s seminal synthesis of research, ‘Visible Learning‘; although, of course, feedback itself is a broad term. Dylan Wiliam is lauded as a guru in this particular area. He defined the five key areas of effective assessment for learning as follows:
- clarifying and understanding learning intentions and criteria for success
- engineering effective classroom discussions, questions and tasks that elicit evidence of learning
- providing feedback that moves learners forward
- activating students as instructional resources for each other, and
- activating students as owners of their own learning
The “big idea” that ties these together is that we use evidence of student learning to adapt teaching and learning, or instruction, to meet student needs.
(From ‘Excellence in Assessment‘ by Dylan Wiliam)
The strategy of ‘gallery critique‘ is so appealing because, done well, it addresses each of the five areas of effective assessment for learning. I have learnt, through experience of trailing the strategy, that clarifying the success criteria is essential if students are going to create work worthy of a gallery. Each time I now use the ‘gallery critique‘ method I make sure I have used multiple models of high quality work matching their task as a precursor. Also, equally crucial, is having the highest expectations of behaviour when undertaking the gallery reflection and feedback. It can be an off putting strategy if you have a challenging group, given you expect students to walk around the classroom, but, like anything in the classroom, they need training until this strategy just becomes a ‘new normal’ for how they would learn on a regular basis. Of course, it is about being explicit about exactly how students should move about the room. I demand silence during the gallery reflection stage, verbally celebrating students who are undertaking the task with particular focus. I ensure students have a scaffold for their responses using the ‘ABC’ feedback model (they write on their large post it notes – either A for ‘Agree with…’, B for ‘Build upon…’ and C for ‘Challenge…’). I also articulate tight time-frames to ensure students are focused on the job. I then select exemplars that have multiple examples of feedback and talk through them with the class, huddled around in an arc facing the work, questioning students appropriately. Students follow up the ‘gallery critique’ with some sustained ‘dedicated improvement and reflection time‘, whilst I attempt to remedy any misapprehensions with individual students.
In terms of evidence, I focused upon using the strategy with my Y10 group preparing for an ‘Of Mice and Men’ controlled assessment. I regularly identified distinct improvements to drafted paragraphs based on using the ‘gallery critique‘ method; however, I am suspect about my own instincts here, because as Hattie states, almost every teaching intervention makes some form of improvement. That being said, we repeated this method of formative assessment, with the second batch of model paragraphs being distinctively better than the first (I included more exemplar models the second time around). I couldn’t grade this improvement, as it was part of the controlled assessment process, so any marking of drafts isn’t allowed (much to the annoyance of students who are used to this being the case), but the paragraphs were clearly better. I did want the ‘soft data’ of student voice evidence, so I undertook a student voice activity with my trial group. I did undertake the questionnaire just before their controlled assessment so they were nervous and lacking in confidence somewhat (by the end of the lesson I had a different response to their ‘confidence level’ question – with more than half of the group feeling more confident).
The evidence from the questionaries from my Y10 GCSE group is certainly not a ringing endorsement of the strategy! What clearly came through the questionnaire was that 82% of students in my GCSE group preferred teacher assessment over peer or self assessment. Only 18% favoured peer assessment. Of course, students are always dependent and reassured by teacher assessment, for good or ill, but it does draw into question whether this strategy enhances motivation, or whether it is simply defers the true gratification for students that is teacher assessment. One complication is that students know I will not, and cannot, mark a draft of their work, as the controlled assessment process prohibits this, so their annoyance may translate to their views on the questionnaire. 27% of students evaluating that the ‘gallery critique’ method was “not useful at all”; 32% thought it was useful at times; 18% deemed it useful and 18% thought it was very useful. Their reflective opinion did appear to clash with the quality of their written outcomes, but it is an interesting piece of evidence (arguably, watching videos would receive a high percentsge for its usefulness but I would be rightly sceptical of their judgement!). Interestingly, 64% of the group thought that reading the work of others was “useful at times”. Clearly, the desire for teacher led assessment predominates and is indeed the dominant model for education – why wouldn’t students be conditioned to be reliant upon it? Does the strategy motivate students undertaken in this specific manner in the English classroom? Clearly not as much as I thought.
The next crucial question: does it work? The proof will inevitably be in the summative pudding of the controlled assessment mark. I will be able to equate it with their previous reading assessment, not ideally as there are differences. I will also be able to compare their performance with other groups (again, recognising that a host of variables are at play) to ensure there is some hard data to supplement the student voice and my teacher observations of progress.
It is the case with assessment for learning, like most teaching strategies, a balanced variety of well honed approaches will work best to help students make progress. Peer assessment that is well scaffolded and modelled, and conducted with well chosen groupings, can be highly effective formative assessment, as the evidence suggests, but striking a delicate balance of assessment for learning is key. Students often dislike self-assessment, but that self-regulating skill is key to success, therefore we must persevere, ensuring our pedagogy scaffolds the assessment to make it purposeful and have impact.
It is only appropriate to end with the inspirational words of Ron Berger when thinking about the value of the ‘gallery critique’ strategy:
“Most discussions of assessment start in the wrong place. The most important assessment that goes on in a school isn’t done to students but goes on inside students. Every student walks around with a picture of what is acceptable, what is good enough. Each time he works on something he looks at it and assesses it. Is this good enough? Do I feel comfortable handing this in? Does it meet my standards? Changing assessment at this level should be the most important assessment goal of every school. How do we get inside students’ heads and turn up the knob that regulates quality and effort.” (P103, ‘An Ethic of Excellence’)
In summary, ‘Gallery critique’ is one very useful formative assessment strategy for getting students to better ‘turn up the knob that regulates quality and effort’, making their work worthy of a gallery.
People who have read my #marginalgains blog posts will know I am going over old ground here – intentionally so – as I am looking to dig deeper towards the key marginal gains that have the biggest impact on learning. For me, formative oral feedback and questioning are the two key ‘hinge point marginal gains’ that make for great teaching and learning. My previous #marginalgains blog identified new teaching strategies for these tow key area ad pedagogy, but here I wanted to use this blog to reflect on what I view as the most high impact formative oral feedback strategies that I have been using in my everyday practice. I want to use my list as a reminder, each time I plan lessons, of the key strategies to use – as it is too easy to forget and slip into autopilot planning, forgetting even our most effective of strategies.
In the latest OFSTED guidance, they have clearly stated that lesson planning should not be inflexible, that teachers should react to the progress, or the lack thereof, of their students. This is heartening recognition of what we have known all along – and that is that teaching and learning are contingent activities. Learning is often problematic, changeable, non-linear, beset by a host of unique factors that cannot be exactly replicated (but with experience we can determine common patterns). We must therefore be constantly tracking the evidence of learning with as much precision and skill as we can. That is why effective teaching hinges absolutely on oral formative feedback and questioning on a lesson by lesson basis. It appears to me that the greatest benefit of experience that I observe in excellent teachers is the recognition of how and when to elicit feedback, with the nuanced understanding of what questions to ask, how and when. I have drawn upon this wealth of experience for my top ten – indeed it is my inept stumbling near the shoulders of giants that is responsible for the whole lot!
In nearly all of these examples the feedback includes all three parties possible in the class: the learner, peers and the teacher. I dispute the idea of peer feedback as an undertaking exclusive of the teacher – we are always there steering the feedback, establishing ground rules and success criteria, modifying and adjusting the feedback of peers – that is why we are the paid experts! Therefore I do not differentiate between ‘teacher led’ or ‘peer’ feedback in my list.
My Oral feedback Top Ten
‘Making the Learning Visible’ – Oral Feedback on Worked Examples:
This heading captures a variety of methods and tools to essentially do the same thing – showing student work in the midst of the process. Whether it be through an iPad and Apple TV; a Visualiser; a video camera or still camera, or more simply pinning ongoing work up onto the wall or a display; making the work ‘visual’ is a powerful tool for assessment for learning. For one, it raises levels of pride, giving students a keener sense of purpose, and it often instills a healthy competitive edge to the learning. It is also evident that most successful students have an innate sense of what ‘good work’ looks like, but many students simply don’t have this degree of self-efficacy. Making visible exemplar work, and breaking down its component parts, is a simple and powerful way to modify the learning of each student – helping to enhance what Ron Berger described as the crucial assessment going on “inside students”. Having used an iPad this year, I have repeatedly photographed student work, put it into the ExplainEverything app and immediately annotated through the projector, whilst giving formative feedback. Students are more then willing to get involved (a handy benefit is that good work can be saved and shared through the iPad), given clear modelling and parameters for effective feedback. Student feedback regarding this approach is highly positive.
Ostensibly, the strategy is a writing task – but it is the ongoing oral feedback at the heart of this strategy that is essential in establishing where the learners are and where they are going with their learning. This is one of those activities that teachers often shy away from, perhaps through a sense of fear of making a mistake in their writing, or not having absolute control of behaviour whilst undertaking the writing (a neat trick is to select a student to scribe the guided writing to allow you to freely roam the room; or going one step further and having an object passed around, like a conch(!), for which students need to hold to contribute). Working effectively, it can harmonise a symphony of understanding. Given any topic the teacher can begin with a prompt to the writing to oil the wheels, before students are asked to contribute subsequent ideas and sentences. As an English teacher, I love getting embroiled in debate about the semantic meaning of one individual word choice over another! Once more, it has the attendant benefit of modelling excellence in a very collaborative and fulfilling fashion.
Peer Response Partners (or ‘think-pair-share’):
This style of peer feedback is well trodden and nothing new, but it is worth reflecting that it is the aggregation of understanding provided by learning in groups which provides the positive impact inherent in collaborative learning. Some people complain about the aggregation of misunderstanding that can occur in group work; however, that ‘failure’ isn’t necessarily negative at all, for it gives the teacher the chance to modify the misapprehensions in whole class feedback, indeed, it opens up new avenues of learning – coming back to the contingent nature of learning! The ‘think-pair-share’ approach has been elaborated upon better than I could possibly explain – so here is a useful blog on the activity and its importance from @headguruteacher:
I would add that it is crucial that success criteria is shared with students and that they have a rigorous structure for feedback – whether it be a ‘Two Stars and a Wish’ approach, or something similar. Ideally, it follows from some quality modelling, as exemplified in points 1 and 2 of my list.
Once more, it is Ron Berger I have to thank for this. Put simply, it is a systematic approach to peer feedback that is structured, clearly and positively, depersonalising the feedback, whilst honing in upon the steps required to improve towards excellence. A fuller explanation can be found here by the venerable @DKMead: http://pedagogicalpurposes.blogspot.co.uk/2012/09/by-josie-and-emily.html
and here, by the man himself:
One-to-one Teacher Feedback:
This is as old school as ancient Athens I know! Yet, in the hurly burly of thirty GCSE students rumbling along in unison, the prospect of one-to-one feedback appears slim to non-existent far too often. Yet, we all know the power of the swiftest of one-to-one oral interventions. Too often our elegant written commentaries are ignored or simply misunderstood. We need to talk it through. With our KS3 groupings in our English and Media Faculty we have allocated one-to-one weeks for each class each term. We are going to ensure students work with peers collaboratively ‘marking’ prep books for SPaG in their preparatory writing, before undertaking independent reading and writing challenges. Every student will spend five minutes with their teacher reflecting upon their progress, targets and their finished, or ongoing, work. At GCSE, you may find that mock feedback would be doubly useful given an oral one-to-one to supplement a written commentary. How about setting up a small group task where students devise their own exam questions and answers – a higher order thinking task that requires some scaffolding support, but which is a tried and tested success – whilst undertaking that crucial one-to-one feedback.
A lively debate can ensue from this kinaesthetic strategy. Select topic sentences that convey a clear opinion and then use both sides of the room as an opinion continuum, from ‘Strongly Agree’ to ‘Strongly Disagree’. This is an ideal task at the beginning of a topic, to determine their understanding, or at the end – perhaps it is a good way to book end learning to identify changing opinions after a topic has been studied. Students must orally feedback their opinions, justifying their ideas with evidence, building upon or challenging feedback from other students. The feedback can be made visible by a student scribing the continuum on the board in note form (photograph it and save it for later, or use it for ideas for a subsequent written activity).
The Secret Teacher – ‘The Power of the Post It’:
I must commend Zoe Elder aka @fullonlearning for ideas related to the humble post-it note, found in her luminous book ‘Full On Learning’. I have embedded these techniques with real success and with real ease – even though their aim is moving slightly away from oral feedback as such. Firstly, the ‘secret teacher’ aspect comes in when you have students work independently, for example, on a piece of writing (for me it was students working on Recreative writing in preparation for a controlled assessment). Students were asked to note any questions on a post it and place it on the ‘questions wall’, as they worked away. This small step was helpful in eliminating those helpless and distracting questions, like ‘How do I spell such and such…’, when a dictionary is in a box in front of them! The freedom from answering these questions meant my teaching assistant and I could go around quickly giving feedback with limited interference, whilst casting surreptitious glances upon the work students were doing. Rather than interrupt the flow of the whole group by stopping to talk with individuals (students, like adults, are inherently nosy!), we simply made a note on a post it and placed it on the desk of the student – from a simple ‘Proof read your punctuation’ to ‘Should you develop your scene direction further?’ These little nudges actually moved away from the notion of oral feedback explicitly, but the nudge and modify approach is exactly in tune with the notion of oral formative feedback. In reality, you cannot simply use the post it notes without some verbal feedback at times, but that feedback becomes very precise and concise. The hum of learning when this strategy goes well really is a pleasure to behold.
This simply strategy relates to the method of questioning to elicit oral feedback. The ‘Teacher-student-student…’ approach explicitly rejects the ‘tennis style’ teacher led questioning, to instead encourage students to feedback upon the ideas of one another – bouncing ideas around the room like a basketball team (without the heavy ball obviously!). It is a timely reminder to ensure students still own their learning, building upon the ideas of one another.
Closely related to the previous point is the very simple model for students to respond to one another – A = Agree with… B = Build upon… C = Challenge. When students know this structure it is a finely tuned short-hand for effective collaborative learning that enriches the quality of feedback. The teacher is the ultimate guide, but students can develop their thinking more independently. This style does work better with a meaty topic where students are grappling with an argument, or questions, that requires higher order thinking. It also helps if students are given notice that they will respond, as it ensures they listen ever more keenly.
‘Learning Spies’ Feedback:
Taken from the eponymous @LearningSpy himself, David Didau, this strategy works great for group work where you want students to remain on task purposefully throughout the lesson. It is a great way to celebrate and feedback upon positive learning, making explicit what good learning looks like, sounds like and feels like. I used this strategy a lot in the last couple of years with eager Year 7s, who were energised by the opportunity to seize some teacherly control! By making explicit before the task what behaviours you expect of good group work, the two ‘spies’ (I found a gender and ability mix for the pairing worked well), would note each group at work; making notes about skilful contributions, good leadership, levels of engagement and active listening. At the end of the lesson, they would feedback with real skill about the learning habits displayed by the group, identifying the best insights and behaviours on show. Try it with one of your most ‘challenging’ students – we all know the type – it really gets them reflecting and can be very powerful way to get your group learning about how to learn. Admittedly, it isn’t something I would use daily, but with complex group work of some extended length, it is a great strategy. The excellent @davidfawcett27 has produced his own spin on the idea:
I particularly like the recording of evidence idea from the blog – with the iPad learning spies could photograph or film exemplary learning – an incredibly powerful strategy that gets students really focused reflecting upon their learning.