SSA Alappuzha

2010-11-04T02:30:00.000-07:00

Trainers Empowerment

2010-10-27T21:58:00.000-07:00

SSA Alappuzha is conducting various programmes this year.......................
One of our sucessful programme is Trainers Empowerment Programme
Trainers from 11 BRCs are attented the Prgramme

Special Package English

2010-02-24T20:53:00.000-08:00

SARVA SHIKSHA ABHIYAN ALAPPUZHA
HEART – Holistic English Acquisition through Reflective Teaching
MODULE FOR TWO DAY EMPOWERMENT PROGRAMME FOR PROFICIENCY DEVELOPMENT OF TEACHERS – ENGLISH
Venue : BRC Centres
Date : from .. . . . to . . . . . (2 days)(Before 20 Aug 2009)
Time : 9.30 am to 4.30 pm
INTRODUCTION
As a part of HEART - English Special Package Programme, it is proposed to conduct a 2 day special training for all teachers who teach English in Std. I to VII. The module focuses on different kinds of ‘triggers’ to improve English proficiency of teachers. They will get experience in writing scripts for drama choreography and perform them.They also will get opportunities to sensitise themselves with the strategies to evolve childrens literature in various discourse forms. Moreover, the teachers will internalize the Teaching manual, in order to strengthen their own class room facilitation, and they get sensitised with the components and techniques of continuous assessment.
Objectives
- To develop the language competence of the participants so that they can use English with accuracy and fluency.
- To develop the professional competence of teachers to enable them to transact classes with confidence in the constructivist paradigm.
- To develop the ability of teachers to use the language creatively.
- To familiarise the teachers with different strategies for constructing various discourses relevant to the day to day life and to process them in the class.
- To build up a team of competent resource persons to disseminate the pedagogy among our teacher community.
- They plan and perform drama based on a social issue without writing down the script.
- They develop confidence to make use of strategies for evolving children’s literature.
- They gain confidence in processing the scripts of drama and choreography.
- They undertake editing of the written work.
Time Frame
Day Session 1 Session 2 Session 3 Session 4
I Registration
Inaguaration
Course briefing
‘Triggers’ for generating Language Drama for LP

Choreography for UP Drama for LP

Choreography for UP Drama for LP

Choreography for UP
2 Evolving Children’s Literature Evolving Children’s literature Evolving Children’s Literature Familiarization of TM

Session 1 – (10.00 am to 11.30 am)
Objectives
CPs sensitize that music can be used as a trigger to generate language.
Process
RP poses these questtons.
o What do you think of a child?
o Do you think that she/he has some talents or potentials.?
o All children have some innate potentials. Don’t all of us have innate talents.?
o Have you ever identified your innate potentials?
Let us try to take out what we have within?
- RP gives the following TPR (Total Physical Response) commands (Supply the ambience of violin recital of Kunnamkudi in a very subduced way)
Stand up, stretch for Hands up, Move your left hand clockwise fivetimes.Repeat this with your right hand. Move your left wrist clockwise five times.Then anticlockwise five times. Repeat this with your right hand. Now lift your left leg. Move your ankle clockwise and then anti clockwise 5 times each.Repeat this with right leg. Keep both your hand on your hip. Move the upper part of your body clockwise and anti clockwise twice. Rotate your head slowly two times clockwise and two times anticlockwise. Sit . Take a few deep breaths.
- Back ground music of Violin recital stops.
- Play the Shahnai recital of Bismilla Khan to create an ambience in a subduced tone.
- Give the following directions in a slow pace with appropriate pause.

Close your eyes, Take a deep breath Relax. Concentrate . Think of a pleasant moment in your life. Think . . . Think . . . Now you feel very happy. You will not listen to any other sounds. Concentrate . . You will listen to your inner voice. Listen to yourself.
- Stop Shahnai recital and play back the Tabala recital of Zakkir Hussain
- Stop Thabala recital.
Now you have listened to a wonderful Thabala recital.
- Hope that it evoked some feelings in you?
Now you try to bring up your feelings or emotions in the form of a short performance.
May be a mime, a drama, drawing a picture.
- Scribble down what you are going to perform.
- CPs writes down their thoughts and how they are going to perform (Script)
- Random presentation
- RP invites some CPs to the stage.
All of them perfrom in their own ways.
- Interaction.
- What has this activity to do in a second language class?
- What impact the change of music brought to you?
- In our day to day life, can language survive without emotions.?
Consolidation
- Music can instill emotions and inturn generate language.
- Language is loaded with emotions.
- Langauge cannot survive without emotions.
- In short, music can be a strong trigger to generate language.
Session II (For UP Section)
Objectives:-
CPs become proficient in developing choreography scripts and performing it.
Process
- RP exhibits some bright pictures which depicts the clear picture of the society before CPs.
- Each one goes through the picture.
- Sensitising the theme of the picture.
- CPs develop any discourse, poem, story, narrative, screen play, drama. feature, report….
based on any one of the pictures individually.
- Individual presentation of the poem only
- General discussion
- Select one (The best one)
- Editing (Following the steps of Editing)
- Refinement
Editing steps
- Thematic editing.
- Whether the theme is properly conveyed?
- Identifies the ‘figures of speech’
- Identifies the similies, metaphors, personifications.
- Distinguish between similies & metaphors.
- How can we assure that the child is appreciating/enjoying the poem in all its aspects?
- Do you think the child is able to express the central theme of the poem in his own way?
- How does child express the nucleus of the poem?
- RP leads the participants for Choreographing the poem.
- RP poses some questions.
- What is the central theme of the poem?
- What are the sub themes?
- Does it contain only pathos?
- Does it convey any ray of hope?
- Let the participants individually scribble down the negative and positive notes contained in the poem.
- Random presentation.
- Writes them on a chart.
- Since the theme of the poem reflects both the positive and negative notes, we have to combine both for choreographing the poem.
- How will we plan for choreography based on this poem?
- Identifies the evidences/instances that reveal positive and negative notes.
- Let the participants sit in groups note down instances of both notes.
- Elicit one or two instances from 1 or 2 groups.
- Let them combine any two instances and develop the Choreography.
- Facilitator asks some scaffolding questions such as
o How can we visualize it from the real life?
o What are the actions to be performed related to instance.
o Who are the characters involved in these actions.?
o How do we sequence these actions? (events)
o Where do these actions take place? (Settings)
o What actions can be performed by the chorus to set the location?
o Who are the singers?
o Groups develop the script for choreography .
o Groups give tune to the poem.
o They rehearse the choreography to synchronize the actions with the rhythm of the song.
o Groups perform Choreography.
o Generate a discussion on the performance
o Let groups report what refinements are needed for refining their choreography.
o How can Choreography contribute to language acquisition?
Consolidation points.
o Choreography is a theatrical mode and as such all points that we have discussed in the context of drama are relevant here.
o Choreography is not just an action song.It doesn’t deal directly with the ideas given in the poem. Instead, it works out how the theme can be visualized in a variety of ways.
o A lot of language can be generated while planning for choreography naturally.
o As a form of discours, choreography shares some of the features of the drama.
Session II (for LP section)
Objectives:-
- CPs become proficient in developing drama scripts and performing it.
- CPs understand the significance of tone in performing a drama/dialogue.
Process
- RP exhibits some bright pictures which depicts the clear picture of the society
- CPs observe the picture closely.
- Let the participants identify the issues in the pictures
- Which theme is most appealing to you why?
- Random presentation of perspectives by the CPs.
- Take the theme that is most striking.
- Can you conceive a plot and write a one line story based on it?
- CPs scribble one line plots.
- Random presentation.

- Of these plots which one do you like most.Why?
- What are the criteria for selecting a plot?
- Let the CPs list down the indicators to assess a plot.
- RP consolidates the following indicators
o It contains conflict.
o It has contemporary relevance.
o It has an internal structure – rising action, climax and falling actions.
- CPs sit in groups & share the plots.
- Select the best plot from the group based on the indicators.
- Develop a five minutes drama from the plot without writing the script.
- RP poses some questions and display on the chart.
o Who are the actors?
o What is the setting?
o What are the events?
o What are the actions?
o What are the dialogues?
o Rehearsal of the drama.
o Before performance of the drama, fix the indicators for assessment, negotiating with the CPs.

1. Dialogue presentation
 Audibility
 Voice modulation
 Tempo
2. Body language
 Gestures
 Posters
 Facial expressions
3. Stage sense
 Position of the characters.
 Movements
 Music
 Props
 Costumes.

4. Co ordination
Involvement of all the members of the group.

- Prepare an assessment tool using the indicators.
ASSESSMENT TOOL
Team No Dialogue presentation Body language Stage sense Co ordination Overall grade
A V T Grade G P F Grade P Mo Mu Pr Cos Grade Involvement Grade
1
2

- Participants perform the drama.
- They assess the drama individually based on the indicators.
- After performance group members sit together.
- Share the results.
- Assess themselves (Their own performance )
- Then they assess the performace of other Groups.
- Selecting the best actors?
- RP initiates a discussion on the performance. RP poses the questions.
- Could you feel any difference between self assessment and peer assessment?
- How do we change by assessing ourselves and others?
- What suggestions do you have to improve the performance?
- Did you use proper tone while delivering the dialogues?
- Eliciting suggestions.
- That is, tone has an important place in communication.
- Communication should be effective and more meaningful only if we use proper tone.
- Facilitator gives a tip activity for voice modulation (a,e,i,o,u activity)
- Let the participants think of an inter personal communicative situation.
- CPs plan the dialogue using only the sound sequence “a, e, i, o, u”.
- Random presentation by 1 or 2 groups.
- RP intiates a discussion on the pedagogic implications of theatre.
RP poses the questions.
- What is the relevance of the theatre in the class room?
- What is its relevance with visual spatial intelligence?
- Why didn’t we go for writing the script instead of oral presentation?
- What are other cognitive processes that can be associated with drama?
- Elicit random responses.
Consolidation by RP.
1. The theatre contributes to the development of communication skills.
2. There is ample scope for capitalising emotive aspect of language.
3. It ensures thorough involvement of the participants which is a pre requisite for non conscious acquisitions of language.
4. It ensures collaboration and co - operation.
5. All the multiple intelligences are taken care of
6. Cognitive processes such as anticipation, prediction, analysis, critical thinking are involved.
7. It caters creativity.
Assignment
Prepare the script of drama that you have performed.
Sessions III
(Note : For LP follow this session after refienement of drama script
For UP follow the session as such)
Objectives
CPs become confident in producing children’s literature.
1. CPs identify the distinctive styles of different writers and develop their own style.
2. CPs become confident in applying the strategy for evolving children’s creative literature.
Process
- RP shows the illustration of a scene of a story to the CPs. (Elephant series)
- Elicit the idea conveyed in it.
- Then exhibits another picture and let the CP’s link these two scenes and prepare a story.
- Random presentation.
- Form four member groups.
- Provide a set of pictures for each group.
- Let each one select three or four pictures from it and develop a story.
- If the pictures are taken in different sequence, then different story threads can be generated.
- Generate a discussion about the criteria for developing stories/narratives.
1.Emotionally registering the characters.
o Presenting the perspective of a character.
o Associating with the experiential orbit of the listeners/readers.
o Creating appropriate images.
2. Checking the jerks in terms of
- Space
- Time
- Figurature expressions.
- Perspectives.
3. Ensure dramatic conflicts in the narratives.
- Inter personal
- Intra personal
- Contextual
4. Finding slots for creating narrative gaps.
5. Optimise the length of the story.
6. Ensure all sentence varieties.
7. Editing of the script.
Session IV
Objective
CPs become confident in applying strategies for producing children’s literature.
Process
RP narrates a story written by a student of LP.
- Leads the discussion to a four page story with illustrations.
- Let the participants scribble stories
- Random presentation
Generate a discussion about the criteria of a four page story.
Fetures/criteria
- There should be dialogues.
- Emotionally registering of characters/images should be created.
- One sentence should convey one idea.
- Include minimum sentences
- It should include unexpected turn of events. (Some thing unpredictable should happen)
- It should evoke the emotional feelings.
- Consider the experiential orbit of the learners.
- It should have illustrations.

2010-02-24T20:52:00.000-08:00

Note : Give one copy for each school ANNEXURE - I
PROCESS OF DEVELOPING MAGAZINE
Objective : To make the students competent in preparing Inland magazine (Class level, School level, Group Level and Individual level)
Stage I : SRG Meeting
In SRG , give an idea about ‘special package for English’, and the process for developing Magazine in UP Classes.
Stage II : Subject Council Meeting
• Select a locally specific theme for Magazine.
• All the classes in a school must follow the same theme.
• Select an input to sensitize the theme.
(Input may be in the form of narrative, discussion, News Report, Picture, Cartoon, Video Clipping etc.)
• Prepare a module for developing magazine.
• Select the type of discourses to be constructed.
(Poem, description, conversation, diary)
Stage III : Preparation - Class level Magazine
All English teachers must follow the process described in module. Use same input for all classes.

Process :
 Sensitize the issue through proper input
(as decided in Subject Council)
 Make the students emotionally vibrant.
 Create a need among learners to construct discourses.
 Give details of discourses to be constructed.
 Grouping of students formation of discourse groups through negotiation (5 groups)
 Each group constructs discourse assigned to them.
 Teacher’s interaction in groups.
 formation of group products.
 refinement of group products.
 Group presentation (discourse presentation)
 Editing of all group products (in the whole class).
 Preparation of Inland magazine using the group products/discourses.
 Editorial board including the representatives from each group.
Stage IV : School Magazine
School Magazine is the follow-up of Class Magazine . The outstanding performers of each discourse group are selected for school magazine team.
Process :
 Select the outstanding performers from each discourse group.
 Formation of School Magazine team
 Ensure the participation from all classes for each discourse.
 Discourses –wise grouping of students (5 groups)
 Each discourses –group contains students from Std V, VI and VII.
 Each group develops one discourse.
 Groups get the support from English teachers.
 Refinement of the product.
 Group presentation.
 Editing of all discourses.
 Preparation of School level Inland magazine using these 5 discourses.
 Editorial Board includes the representatives from each standard.
Stage V : Group level Magazine
For this, teachers must follow another input. Process are same as class magazine. But here, all groups must develop one Inland Magazine.
Process :-
 Sensitise the issue through proper input.
 Create a need among the students to construct discourses.
 Select the discourses to be constructed.
 grouping of students.
 Each group develops all the selected discourses.
 Editing of all prepared discourse/group.
 Each group prepares their own Inland Magazine.
 Editorial board members are selected from the same group.
Stage VI : Individual Magazine
All students in the school must develops this magazine . Selected discourses from ‘Portfolio’ are used for preparing Individual Inland Magazine. So there may be different themes in one Magazine.
Process :
 Select best discourses from ‘Port folio’
(the themes of each discourse may vary)
 Prepare magazine using selected discou

Satha silpikal

2010-02-22T22:54:00.000-08:00

Heart Booster Training

2009-12-17T20:41:00.000-08:00

2009-11-06T01:14:00.000-08:00

SARVA SHIKSHA ABHIYAN ALAPPUZHA

"TENTATIVE INTEGRATED CALENDAR OF ACTIVITY -
NOVEMBER - 2009"

Date Action

1.11.2009 SUNDAY - Holiday
2.11.2009 Review and Planning of BPOs & Trainers, HS level DRG Module
Preparation
1.11.2009 to 5.11.2009 IEDC - Resource Teachers Training - State level
3.11.2009 & 4.11.2009 DRG Training - UP - Maths , UP Science, Std.III, STD. I, LP -
Arabic
3.11.2009 to 5.11.2009 "Monitoring by Programme Officers
OSS by BPOs and Trainers
Ezhuthukoottam - School Level"
5.11.2009 Planning of CTEP
5.11.2009 to 8.11.2009 Balasastra Congress - School Level
6.11.2009 Review of Physical Eduction Teachers - Thaikonda
6.11.2009 & 7.11.2009 CTEP all sub districts except Alappuzha
7.11.2009 Monitoring CTEP
8.11.2009 Holiday - Sunday
9.11.2009 to 12.11.2009 IEDC - Resource Techers Training - State level
9.11.2009 "Padanaveedu - Volunteers Training, OSS Team visit
Little Scientist - District Quiz Programme (Written test)
"
9.11.2009 to 11.11.2009 3 days editing workshop of integrated activities (W.E) DIET
9.11.2009 to 14.11.2009 "State level Residential Training on Special EnglishOSS"
9.11.2009 to 15.11.2009 DISE Week
10.11.2009 "Consolidation of Quiz Competition
Resource Teachers Review, State level study -
Conceptulisation W.S of HM Training - DIET"
11.11.2009 Module preparation - HM's training
11.11.2009 to 13.11.2009 "Loosers Training ( Special English Panchayath level co -
ordinators) HEART OSS, Monitoring"
12.11.2009 Dist. Panchayath - Counselling training.
13.11.2009 "Balasastra Congress BRC Level
Planning of Sahavasa Camp - SC/ST, Minority Girls Edn , Module finalisation of HM Training and Planning meeting. (DIET)"
14.11.2009 & 15.11.2009 "Quality Tracking - Report
Sahavasa Camp - SC/ST/Minority/Girls Edn"
14.11.2009 Releasing of individual magazines - HEART - School- Block - Dist..
16.11.2009 Dist. Panchayath - Counselling class at Alapy (DIET), HM's training - 6 sub district and 2 DEOs
16.11.2009 to 18.11.2009 BPO level checking of DCF
16.11.2009 to 21.11.2009 II nd Spell Special English Training - State level
17.11.2009 HM's traiing - 5 sub district & 2 DEO
17.11.2009 to 19.11.2009 OSS & Monitoring
18.11.2009 IFIC faculty training at Idukki (DIET)
17.11.2009 & 18.11.2009 DRG Training - CTEP
18.11.2009 & 19.11.2009 Training to RTs on HEART - 2 day Residentail 2 Batches
19.11.2009 DCF submission at DPO
18.11.2009 & 20.11.2009 DRG faculty training KNFE functions (DRG - DIET)
19.11.2009 to 21.11.2009 Tool preparation workshop for DIET study.
20.11.2009 Action Research Training to Trainers & RTs
21.11.2009 & 22.11.2009 Sahavasa Camp - SC/ST, Girls Edn & Minority Edn
23.11.2009 to 25.11.2009 W.E - Earn & Learn programme for LP/HS teachers (DIET)
23.11.2009 to 27.11.2009 "IIIrd Spell English Training - State level,
OSS, Monitoring"
23.11.2009 to 30.11.2009 Data entry of DCF at Different centres
24.11.2009& 25.11.2009 OSS, DRU Faculty Training (DIET)
26.11.2009 to 28.11.2009 & 30.11.2009 IEDC - HM's one day orientation orientation - HS only (DIET)
26.11.2009 Tool familiarisation meeting of DIET study.
27.11.2009 W.E manual familiarisation training ( DIET)
28.11.2009 & 29.11.2009 "Sahavasa Camp - SC/ST, Girls Edn & Minority Edn
Ezhuthukoottam Panchayath Level "
30.11.2009 "Review of BPOs & Trainers
DSTE Faculty training DIET."

Bamboo Craft

2009-11-05T23:27:00.000-08:00

Akasha kazcha

2009-11-05T23:14:00.000-08:00

Satha Silpikal

2009-11-05T22:46:00.000-08:00