By Fred Sedgwick

100 useful and encouraging principles for constructing creativity and literacy from origin degree via to Key degree 2. >

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It presents problems to a teacher who has learned to write legibly in a different style. If you were taught italic (as I was) or Nelson (as my son, a teacher) was, it is not easy to produce, say, cursive on the white board. And what does it do to your personal handwriting, which becomes an anonymous hybrid? The same applies to children moving from a (say) cursive-teaching school to an italic-teaching one. ) requires legibility? Do handwriting scheme proponents ever give any thought to changes in children’s lives?

Here is a blue hat, a blue clipboard, a picture of a blue sky, a blue policeman’s helmet, a blue . ’ If I can find something massive – as tall as the classroom – that is blue – so much the better. I ask the children to bring in other blue things. I go through the display with the children. This is all conventional enough. And, of course, I do the same again with red and green and yellow. But . . IDEA 21 RED? BLUE? . Apart from making a corner of the classroom dramatic and colourful, and thus engaging the children, another purpose of this idea is to see how much children (or anyone else, for that matter) actually looks anything more than cursorily at my displays.

I say them in lighter moments with the children. I ask the children to illustrate them. I point out to the children that, in the title of these sections, ‘ee’ always makes the same sound; that ‘gg’ always makes the same sound, as does ‘n’. Preserve these rhymes. They will come in useful at Key Stage 2. 39 IDEA BRING BACK THE ICE BALLOONS 32 40 This is a winter lesson, and a lesson for a time when it is so cold that there has been freezing overnight. It is also a lesson (as are several in this book) that point up the continuity between stages: it is necessary to keep in touch with what other teachers have done with the children you teach now.

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