ncea level 1 english essay questions visual text

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PAST PAPERS

Level 1 english.

Use these past exams along with our practice exam form .

90849 – Written Text(s)

Show understanding of specified aspect(s) of studied written text(s), using supporting evidence.

Assessment Schedule

Examination Paper

Exemplar Answer Scripts

90850 – visual or oral text(s), show understanding of specified aspect(s) of studied visual or oral text(s), using supporting evidence, 90851 – unfamiliar written text(s), show understanding of significant aspects of unfamiliar written text(s) through close reading, using supporting evidence.

Resource Booklet

Not Achieved

NCEA Level 1 English Annotated Exemplars

6 January 2022

6 minutes to read

• 01. How do you find the annotated exemplars?
• 02. Why are annotated exemplars helpful for your study?
• 03. Let’s look at a student’s Written Text, Merit exemplar from 2018
• 04. Critiques from the examiner:
• 05. Let’s take a look at the Visual Text excellence exemplar from 2018
• 06. Critiques from the examiner
• 07. Want some extra help?

While navigating Level 1 English, the NZQA website will be at the forefront of your studying and revising experience. NZQA has achievement standards, in which you can plan out exactly what is required from you and how to achieve every mark, achieved, merit and, excellence. The site has reports of each year for how the students performed and what mistakes they commonly made. Perhaps the most effective studying material is the annotated exemplars and exam questions.

Perhaps you are thinking about how you are going to pass NCEA Level 1 English? If so, then this could be good to check out! Or maybe you’re looking at how many credits will get you there? If you're feeling particularly philosophical then how about you read this blog on why English is important as a subject ? Maybe you just need a brush up on your essay writing skills, then have a look at this. 

How do you find the annotated exemplars?

Simply log on to the NZQA website, type in level 1 English and there will be a drop-down menu where you can access everything from reports, achievement standards right through to annotated exemplars. You can find this dropdown below.

Why are annotated exemplars helpful for your study?

Have you ever got stuck when revising and struggled with your course work for NCEA Level 1 English? Maybe you're confused as to what the next step is to really gain that higher mark; after all, you’ve had your eye on that excellence for a long time.  Annotated exemplars are the way to go because they give you a clear example as to what an achieved, merit and excellence look like. You can take tips as to how the essays were each written and look specifically at the structure of how the text was developed. These also could be helpful if you happen to have studied that particular written text or visual text. Exemplars give you a clear indication as to what is possible under exam constraints; they can show you how effective planning is as well. There is also notes at the end written by the examiner which will be super valuable for you to unpack and reflect on when comparing them to the overall student’s essay.

Let’s look at a student’s Written Text, Merit exemplar from 2018

Let’s first look at the questions for 2018 which in this case, the student selected this question.

"Describe at least one method the writer used to encourage the reader with the text. Explain how this method helped to engage you? Methods could include, characters, events, relationships, narrative points of view, language techniques, style, conflict and structure." Here, the essay question is all about the methods in relation to the reader and writer relationship. Let’s unpack this more.

In this particular essay, the student is dissecting the written text, Warm Bodies by Isaac Marion.  This text paints a post-apocalyptic world where a human being falls in love with a zombie . Throughout the movie, love and identity are explored. Techniques-wise, the author uses symbolism as a means to highlight music and art throughout the novel.

Music is shown as a clear method to showcase the main character's relationship between R and Julie’s. The song ‘Hello, Goodbye ’ by the Beatles clearly addresses their unique relationship, particularly the dynamic on which they first meet. R is wanting to get to know Julie while she is more afraid, needing some distance from him. The lyrics clearly illustrate contrast with what the other one wants and their different expectations. For example, in the song it states:

“You say, "Yes", I say, "No" You say, "Stop" and I say, "Go, go, go"

This relationship dynamic is further wedged with more distance when the lyric states, ‘You say goodbye, I say hello”. They clearly both want different things and the music as a technique helps to clearly show this for the reader.

Marion further developed their relationship by utilizing the John Lennon song ‘Imagine’. This is shown with the lyric “Imagine all the people living life in peace”. Through this lyric, we are given insight into R and Julie’s new budding relationship. They now trust each other and envision a world where both humans and zombies can live together in harmony. In the 2018 exemplar, the student then stated that they were engaged by the text because they felt that music was often a soundtrack for people’s lives. Through the songs, they were able to get more insight into the characters and therefore connect with them on a  deeper level.

Critiques from the examiner:

One of the crucial parts of reading exemplars is the feedback at the end. For this particular essay, the examiner stated that the student unpacked and detailed the points well. They also mentioned that the student has related the points to the author’s purpose as well as the wider themes beyond the text. If you want to read more head to the NZQA website to find this and other exemplars.

Let’s take a look at the Visual Text excellence exemplar from 2018

First, let’s launch into the question that was selected by the student. “ Describe at least one challenging setting in the text. Explain how setting helped you understand an important aspect of the text.”

Slumdog Millionaire by Danny Boyle showcases multiple settings where the main character, Jamal rises up from where he came from in the slums. In settings like the orphanage and slums, we see the underdog continuously overcome challenges and become very successful.

In the 2018 exemplar, the student addresses the first setting where the Juhu slum is depicted . The scene opens with a chase where the two boys are seen running away from the policeman. This challenging setting is further established through the use of a shaky camera, which follows the boys jumping over the fence. In this way, we can also make the connection that they have a shaky life, unsettled and unstable. This helps to build tension for the next scene. Furthermore, there is a Dutch camera angle that has the camera carelessly placed on the ground, with the boys running past it swiftly.  This further displays the uneasiness of the boy’s environment. However, we do see a clear contrast later when the boys appear to outwit the policeman. Showing this scene and doing it so early on in the film really solidifies the important idea of the underdog triumphing over authority.  When you break down the title of the film as well, Boyle really makes it clear as to what will happen and he contextualizes it very well with the underdog film.

Another very important setting is the game show setting. Prem the host is seen making fun of Jamal, further establishing Jamal as the underdog again. After Jamal gets a question right, the camera angles switch to being more balanced and on even keel footing, with both men shown in the view. This change clearly flips the underdog characterization on its head as Jamal is now appearing to be almost dominating the show. It is both shocking and incredible when Jamal is seen to win “Who Wants To Be A Millionaire”. This is because the class system in India has a very strong presence in society. The fact that Jamal overcame where he came from, shredded his underdog status and got away with winning such a huge prize, is hugely significant.

Critiques from the examiner

The examiner liked the structure this exemplar showed. For example, the clear distinction made between talking about the slum, the orphanage and then the studio. Furthermore, the examiner liked the notion that the student included the reader in the text. For example, when the student wrote “we are encouraged to rise up like Jamal”. This awareness of text and the film director helps to further establish a relationship with the reader by comparing the main character to the reader. It’s always a good point to show some common ground with the reader/examiner as it deepens the relationship and makes more insightful points.

Want some extra help?

Are you wanting a more hands-on approach to writing the best essay you can write? Maybe you're feeling stuck with how your progress is going in class? Or perhaps you are needing more guidance with those menacing exams at the end of the year? In any case, have a log on to Superprof, which is an online tutoring website that specializes in helping to get you to the next level of your NCEA Level 1 journey. The first lesson is free so there is really a strong incentive to get involved and have a look to see if tutoring is right for you. There are hundreds of tutors, each there to help with providing extra resources, insights into exam writing, practical tips and just simply some extra support for when you’re feeling swamped. Log on to Superprof today and start learning how to absolutely nail those NCEA Level 1 exams and Internals!

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[ File Resource ]

• Title: English Learning Matrix
• File URL: https://ncea-live-3-storagestack-53q-assetstorages3bucket-2o21xte0r81u.s3.amazonaws.com/s3fs-public/2023-12/EN%20Learning%20Matrix.pdf?VersionId=daYUp0Vah9o6uln6XGS8Y7swL4cuT6UI
• File Extension: pdf
• File Size: 175KB
• English Learning Matrix.pdf

English Learning Matrix

• Title: Draft for Pilot 2023
• Description: English Learning Matrix
• File URL: https://ncea-live-3-storagestack-53q-assetstorages3bucket-2o21xte0r81u.s3.amazonaws.com/s3fs-public/2023-09/EN%20Learning%20Matrix%202023.pdf?VersionId=AGbuqOUuwfC390QEmN9S9leGV6zodpjx
• File Size: 282KB
• Draft for Pilot 2023.pdf

Draft for Pilot 2023

• Title: Draft for Pilot 2022
• File URL: https://ncea-live-3-storagestack-53q-assetstorages3bucket-2o21xte0r81u.s3.amazonaws.com/s3fs-public/2024-03/EN%20Learning%20Matrix%202022.pdf?VersionId=tWzbrr2yDTAHGMddw4s1mGq1Gvey2z07
• File Size: 215KB
• Draft for Pilot 2022.pdf

Draft for Pilot 2022

• Title: NCEA Level 1 Teacher Guide
• File URL: https://ncea-live-3-storagestack-53q-assetstorages3bucket-2o21xte0r81u.s3.amazonaws.com/s3fs-public/2024-05/NCEA%20Level%201%20Teacher%20Guide.pdf?VersionId=14FIXoRKKgriMJ3mSiv6b7_.N2WKQSx.
• File Size: 994KB
• NCEA Level 1 Teacher Guide.pdf

NCEA Level 1 Teacher Guide

• Title: EN NCEA Level 1 Subject Learning Outcomes
• File URL: https://ncea-live-3-storagestack-53q-assetstorages3bucket-2o21xte0r81u.s3.amazonaws.com/s3fs-public/2024-03/EN%20NCEA%20Level%201%20Subject%20Learning%20Outcomes.pdf?VersionId=gWbckqiDXQ9Lpku5P6Q.a72VySP9oh8V
• File Size: 143KB
• EN NCEA Level 1 Subject Learning Outcomes.pdf

EN NCEA Level 1 Subject Learning Outcomes

• [ External Link ]
• Title: New Zealand Association for the Teaching of English
• URL: https://nzate.org.nz/

Links Title: Additional Support

Additional Support

What is english about, [ video resource ].

• Title: English
• Description: English Subject Expert Group members discuss their experiences in the Review of Achievement Standards
• Video Duration: 5 minutes
• Video URL: https://player.vimeo.com/video/571913369
• Transcript: In conversation with Jane DewarMark EdgecombeNatalie FaitalaTranscript below:Probably the biggest change will be that there will be a greater range of incorporation. In terms of including language

In conversation with 

Jane Dewar Mark Edgecombe Natalie Faitala

Transcript below:

Probably the biggest change will be that there will be a greater range of incorporation. In terms of including language, writing, and all of those things in a programme, rather than a focus on individual Standards.

Something we’ve tried to do in English is to re-emphasise the place of language in the Curriculum. That’s something that's going to feature more in Year 11 English from next year onwards.

Hopefully students will notice those things as well. That the teaching and learning is more coherent and comprehensive and robust. And that they have given more time to mull over key concepts and ideas. More time to develop their work. Also, that they are able to understand the key skills and ideas that English has.

That focus on skills is going to be something they will see. It’s not just the production of a piece for assessment. It’s how you go about developing the skills to make many such pieces.

The usefulness of the learning matrix is going to depend on how well people know it, and engage with it, and read it. If teachers and departments take the time to engage with the matrix, it will become a really useful thing, and a thing that informs our practice, as we plan courses.

I absolutely love the learning matrix, because what it does is, it has everything together about what’s important about English. But it also sets the scene for what is becoming a real focus on biculturalism in our schools.

Yes, mana ōrite is one of these principles that we talked about much at the last accord day, that is happening, and it’s a societal thing, that is happening. That is going to be reflected in our education, and which educators are also pushing.

In English, one thing I reckon is, this renewed focus on language is going to give us opportunities to study this thing that is happening in society.

There’s this massive linguistic shift in New Zealand English, whereby Māori words and loanwords are just coming in and in and in. We’ve got super opportunities to explore that, what’s happening on our watch as users of the language. Absolutely, and I think that that all also reinforces identity, which is part of our English...

The big matrix thing we all talked about. The importance of identity as part of language, and as part of the study of English. That the thinking about the mātauranga Māori and bringing that in there, you end up with a sense of identity reinforced by language.

It’s a lot of fun.

It’s a lot of stuff to do here.

It helps our students understand that our identity as New Zealand is a bicultural identity.

I absolutely loved being part of the SEG. The SEG is amazing, I got an opportunity to meet and work with professional teachers, who are experienced and passionate about English, about their students, about teaching and learning in the classroom, just sharing ideas across a range of contexts.

So the teachers were from all different schools, all different places.

I think that being part of the SEG has forced us to be aware. Like you’re saying, Natalie, that the situations in other schools are different from the situations in our own schools. What I might want to see would work for where I’m at, might not work elsewhere.

So the Standards have to be broad enough to encompass the vast variety of schools and students in the country. That was one of the challenges, the tasks, that we were making as well.

I would have liked more time. We could have met for months, really. That was another challenge. Was having the tasks, that you were making, those tasks had to be reflective, and had to have relevance in a whole series of contexts. I found that really fun. It was a lot of fun making those and thinking about them.

I think, one thing to say to teachers is that the essence of the subject hasn’t changed. In some respects, some things are not new, they’re being re-emphasised. Or we’re being called again to focus on what really does matter.

That’s an opportunity and a challenge we should embrace.

Yes, obviously there’s change, and people are scared of change sometimes.

But really in English, I agree with you Mike, I don’t think there is...

We’ve still got all of the components in there that we have. We’ve got the writing, and the oral, and the visual. The reading, and those strands are still there. We have such great teaching and learning guides that have been produced, and shared. Course outlines and programmes that teachers can use and adapt to their own context.

I think, just take all those opportunities to refresh what you’re doing, and provide something really awesome for your students.

Subject-specific terms can be found in the glossary .

English is the study, use, and enjoyment of the English language communicated orally, visually, and in writing, for a range of purposes and audiences, and in a variety of forms. It is creative and critical, receptive and productive. In Aotearoa New Zealand, the study of English incorporates mātauranga Māori and considers our place in the Pacific.

The Learning Area’s whakataukī is:

Ko te reo te tuakiri. Ko te reo tōku ahurei. Ko te reo te ora. Language is my identity. Language is my uniqueness. Language is life.

The study of English affirms language as integral to identity. The word ‘tuakiri’ means both identity and the wall of a house. Language, as a carrier of memory and shared experiences, is one of the walls (tuakiri) that form part of identity, in the same way that the walls of the wharenui house the cultural identity of Māori, connecting the past to the future. Language helps us to express ourselves and to connect with others (the other walls of the house) through shared language use. A solitary wall can be transformed into something more than itself when it is connected to other walls, to foundations, and to a roof. The wall becomes part of the structure which shelters us, keeps us safe, and gives us an environment in which to thrive. Language, then, is life, health, and vitality. Language can also display the most beautiful and significant facets of ourselves and our world, as seen in the word ‘ahurei’, which in te reo Māori can mean prominence, splendour, uniqueness, importance.

The study of literature is a shared journey that aims to foster belonging and connection through the exploration of texts and ideas. The study of Aotearoa New Zealand, Pacific, and world literature contributes to students’ developing sense of identity, their cultural capital, their understanding of heritage, and of the world. Through experiencing this shared journey, ākonga can appreciate and enjoy texts in all their forms.

The study of English helps ākonga to understand how language builds connections with others. Literature connects us to people with similar experiences, and to different life experiences and perspectives. The consideration of vā when studying literature provides a perspective for seeing the world in ways that ākonga might not have experienced before. This can develop empathy and an awareness of the complexities and beauty of different perspectives, as captured in stories.

Understanding, using, and creating oral, written, and visual texts of increasing complexity is at the heart of English teaching and learning. By engaging with text-based activities, ākonga become increasingly skilled and sophisticated speakers and listeners, writers and readers, and presenters and viewers. This equips ākonga to be able to form developed ideas and to communicate them with confidence, participating critically in their communities, society, and in the wider world.

Ākonga at Levels 6-8 of the New Zealand Curriculum can integrate sources of information, processes, and strategies purposefully and confidently to identify, form, and express increasingly sophisticated ideas. They create and make meaning using evidence in the text, from other texts, and from their own experience.

Big Ideas and Significant Learning

This section outlines the meaning of, and connection between, the Big Ideas and Significant Learning, which together form the Learning Matrix. It then explains each English Big Idea.

The English Learning Area, including its whakataukī, inform this subject’s Significant Learning — learning that is critical for ākonga to know, understand, and do in a subject by the end of each Curriculum Level. This covers knowledge, skills, competencies, and attitudes. It also includes level-appropriate contexts ākonga should encounter in their education.

The subject’s Big Ideas and Significant Learning are collated into a Learning Matrix for Curriculum Levels 6, 7, and 8. Teachers can use the Learning Matrix as a tool to construct learning programmes that cover all the not-to-be-missed learning in a subject.

There is no prescribed order to the Learning Matrix within each Level. A programme of learning might begin with a context that is relevant to the local area of the school or an idea that ākonga are particularly interested in. This context must relate to at least one Big Idea and may also link to other Big Ideas.

To allow ākonga to transfer the capabilities developed in one context to new contexts, they need exposure and practice in developing and applying those capabilities across multiple contexts using a range of content. The Significant Learning that teachers can draw from provides opportunities to demonstrate how learning is interconnected and can be woven together to form a coherent programme of learning.

There are five Big Ideas in English. The nature of this subject as a discipline means aspects of Significant Learning often cross over multiple Big Ideas, and vice versa.

Language, identity, and perspective (of the writer and the reader) are powerful forces in a conversation that spans past, present, and future. Ākonga learn that their identity (or identities) and the world around them shape what they write, and how they read. They learn that their own perspectives frame their understanding and interpretations of texts. Ākonga learn to recognise the value of other peoples’ stories, along with their own. This empowers ākonga to feel part of a larger whole. They also learn to identify how they themselves are portrayed and can be objectified in texts.

Becoming familiar with a wide range of perspectives in the creation of texts, including the identity of the writer and the reader, will help ākonga understand and communicate increasingly sophisticated ideas based on the insights they gain into themselves and others.

Language and literature give us insights into ourselves and others

We make sense of our inner and outer lives through story. Ākonga will learn about the bicultural heritage of Aotearoa New Zealand through studying a range of Aotearoa New Zealand texts. They will be able to critically respond to, evaluate, enjoy, and be enriched by what they read. The study of the varied stories of Aotearoa New Zealand from the past to the present contributes to students’ developing sense of identity and their awareness and understanding of their place in the world. Ākonga will explore how text creators in Aotearoa participate in local, national, and global conversations.

The stories of Aotearoa New Zealand are unique taonga tuku iho

English is the only Learning Area that mentions joy in its essence statement, and the overarching Big Idea Stories are a source of joy and nourishment foregrounds this aspect of English study. Enjoyment and nourishment come from bringing the aesthetic to the fore, and from being moved when interacting with text. These textual interactions move ākonga forward on a journey towards reading for enjoyment and personal fulfilment.

Enjoyment is enhanced and learners are enriched when they have the ability to use language with control and respond critically to texts. Language carries culture, memory, connects us to the past, connects us to each other, and creates shared experiences. Language can bring us joy and can communicate sadness.

Stories are a source of joy and nourishment

The codes, conventions, and features of text can interact in sophisticated, surprising, delightful, and challenging ways. Engaging with text-based activities, ākonga learn to communicate and interpret. They become increasingly skilled at making meaning through reading and engaging with language and text and in writing and creating meaning for themselves and others.

Appreciating the intended effects of language features, and the structure and organisation of texts will contribute to active meaning making. As the audience, ākonga will be able to think critically about texts and articulate increasingly sophisticated ideas with confidence, understanding, and clarity.

Making deliberate choices in crafting and editing texts whilst being able to critique and refine their creative processes empowers ākonga to find and nurture their own voice. Learning to recognise the aesthetic qualities (sensual, perceptual, cognitive, and affective) of a text will allow ākonga to purposefully emulate those skills in the creation of their own text.

Communication depends on shared codes and conventions

Language is not neutral. All uses of it (including our own) involve power, and texts are often shaped according to social and political interests. As ākonga learn to deconstruct and critically interrogate texts, they will understand the power that language has to shape their own and others’ lives. They will learn about the gaps in literature and identify omissions and privileges in the texts with which they interact.

There is a conversation between the reader, the text creator, and the text itself which is specific to each reader and creator. Ākonga should be aware of this conversation and learn how to take an active part in it. In this way, ākonga will develop the metacognitive skills to communicate with confidence in their unique voice as creators and critics.

‘Texts’ refer to written, verbal, visual, and multi-modal texts. Literary texts are the domain of the English Learning Area and will be studied along with a range of other text types and genres.

Literature, language, and texts embody power relationships

Key competencies in english.

Students of English will:

• bring creative processes to the creation of oral, visual, and written text, as well as in the creation of new ideas and insights in responses to oral, visual, and written text
• use critical processes to understand and infer meaning and to recognise how writers position an audience for a purpose. They will learn to question sources, perspectives, and representation.
• use critical processes to reflect on their work as they make deliberate language choices and to ‘look beyond’ the text and make connections
• use meta-cognitive processes as they read and create increasingly sophisticated texts. They are able to reflect on and use a range of strategies to make and create meaning.

Using language, symbols, and text

• develop their ability to make meaning of written, visual, and oral language with control. They will make deliberate choices in the crafting and editing of visual, oral, and written texts.
• learn how language changes and how it is used differently according to purpose and audience
• recognise conventions of text types and learn how lexical choice, sound, form, structure, figurative, and literal language can create sensual, perceptual, cognitive, and affective responses.

Relating to others

• understand how to use language with control to express developed ideas for different purposes and audiences
• understand how writers make language choices to relate to specific audiences for a particular purpose.

Managing self

• become capable learners as they develop self-efficacy and confidence to use meta-cognitive processes
• understand and use English processes and strategies
• make increasingly appropriate selection and application of language, symbols, and text
• respond to and use feedback and critique.

Participating and contributing

• be actively involved in communities through their ability to use oral, visual, and written language to participate in discussion and discourse
• participate, as readers, in the world of ideas and be able to develop their own viewpoints and positions and contribute from an informed position.

Key Competencies

This section of The New Zealand Curriculum Online offers specific guidance to school leaders and teachers on integrating the Key Competencies into the daily activities of the school and its Teaching and Learning Programmes.

Connections

Connections with other subjects.

English has particularly close links with subjects such as Media Studies, Drama, History, Languages, and Art History, but it also links to all subject areas because the skills that ākonga acquire in English are universally useful and applicable. This is because:

• all ākonga need certain literacy and language knowledge, skills, and attitudes to meet the reading and writing demands of the Curriculum. Reading and writing, listening and speaking, and viewing and presenting are required tools in every curriculum area. Literacy in English is therefore a crucial factor in student success.
• all Learning Areas depend on ākonga being able to understand, respond to, and use a variety of written, oral and visual language to think about, locate, interpret, and evaluate ideas and information and to communicate with others. The Key Competencies similarly depend on these skills for their development.
• the critical thinking and analytical skills developed in English are important in all areas of the Curriculum
• English plays a major role in developing the Key Competencies and values that are also of benefit in other subjects.

The four aspects in English (purposes and audiences, ideas, language features, and structure) can also be a way of embedding literacy in all senior subjects.

“As language is central to learning and English is the medium for most learning in The New Zealand Curriculum , the importance of literacy in English cannot be overstated.” The New Zealand Curriculum

Connections beyond the classroom

English learning extends well beyond the classroom. Most schools provide opportunities for ākonga to get involved and be part of:

• debating clubs and competitions
• writing clubs
• school newspaper and magazine
• poetry and short story competitions
• Ngā Manu Kōrero
• school productions
• Pacific festivals, which often include regional speech and drama performances.

The knowledge, skills, and values ākonga develop through English support them to participate in social, cultural, political, and economic life, and set them up for a variety of pathways after school.  

English provides opportunities for ākonga to connect with people, critically engage with ideas, and build effective communication and literacy skills.

In English, ākonga practise understanding and interpreting texts. They will engage with a range of texts from Aotearoa New Zealand, the wider Pacific region, and around the world. Ākonga will also practise creating oral, written, and visual texts of their own.

Ākonga are encouraged to be curious and explore their understanding of identity, the world, belonging, and connection. In doing so, they explore a wide range of perspectives and draw upon different bodies of knowledge. This helps ākonga learn in other contexts and sets them up to be life-long learners.

• Title: EN Level 1 Course Outline 1
• File URL: https://ncea-live-3-storagestack-53q-assetstorages3bucket-2o21xte0r81u.s3.amazonaws.com/s3fs-public/2023-12/EN%20Level%201%20Course%20Outline%201_0.docx?VersionId=LSWGacPDJWxQw9mZpNng7VCvLYZkHRrd
• File Extension: docx
• File Size: 130KB
• EN Level 1 Course Outline 1.docx

EN Level 1 Course Outline 1

• Title: EN Level 1 Course Outline 2
• File URL: https://ncea-live-3-storagestack-53q-assetstorages3bucket-2o21xte0r81u.s3.amazonaws.com/s3fs-public/2023-12/EN%20Level%201%20Course%20Outline%202_0.docx?VersionId=zTLt8zq9hy9IvdbCk2sZ9IpnaGExDPrp
• File Size: 139KB
• EN Level 1 Course Outline 2.docx

EN Level 1 Course Outline 2

• Title: EN Level 1 Course Outline 3
• File URL: https://ncea-live-3-storagestack-53q-assetstorages3bucket-2o21xte0r81u.s3.amazonaws.com/s3fs-public/2023-12/EN%20Level%201%20Course%20Outline%203_0.docx?VersionId=dpJc42sgxPg38QoyJgVFwIaeyGqUkv15
• File Size: 136KB
• EN Level 1 Course Outline 3.docx

EN Level 1 Course Outline 3

• [ Internal Link ]
• Title: Teacher Subject Resources
• URL: https://ncea.education.govt.nz//teacher-subject-resources#english
• Description: Level 1 English

Links Title: Teacher Subject Resources

Teacher Subject Resources

Introduction to sample course outlines.

Sample Course Outlines are intended to help teachers and schools understand the new NCEA Learning Matrix and Achievement Standards. Examples of how a year-long English course could be constructed using the new Learning Matrix and Achievement Standards are provided here. They are indicative only and do not mandate any particular context or approach.

More Support

• Title: Setting the scene: Insights into kaupapa Māori
• Description: In this video, we introduce our Kaikōrero who will explore mātauranga Māori concepts in a series of videos; Tuihana Pook, Hine Waitere, Tihirangi Brightwell.
• Video Duration: 4 minutes
• Video URL: https://player.vimeo.com/video/772238305?h=0c3a2a8af7
• Transcript: EnglishGreetings. My name is Tuihana Pook from Te Whānau-a-Kauaetangohia

Greetings. My name is Tuihana Pook from Te Whānau-a-Kauaetangohia, from Te Whānau-a-Apanui. My tribal motto is Tihirau is the mountain, Whangaparāoa is the river, Whangaparāoa is the school, the marae is Kauaetangohia, the ancestral house is Kauaetangohia, his wife was Te Whatianga, that is our dining hall. The school is Te Kura Mana Māori o Whangaparāoa. I stand here in front of the leader Hoani Retimana Waititi. Greetings to you all.

I stand here as a descendant of Ngāti Tūwharetoa and Ngāti Kahungunu the tribes on my mother's side. I acknowledge the tribe of Ngāti Tūwharetoa and sub-tribe Tutemohuta. I climb the sacred mountain Tauhara. Below are the swirling waters of Taupō-nui-a-Tia. That is my connection to Te Arawa. On my adoptive father's side, I affiliate to Ngāti Hau, and Ngāti Rangi, the Whanganui tribe and the tribe of Taranaki Whānui. Greetings, I am Hine Waitere. I acknowledge you all from Te Whare Wānanga o Awanuiārangi, greetings.

Greetings to all. I acknowledge you all. Who am I on my mother's side? Taranaki is my mountain. Waiaua is my river. Kurahaupō is my canoe. Taranaki, Ngāti Kahungunu and Muaūpoko are my tribes. My sub-tribe is Ngāti Tamarongo, Orimupiko and Parihaka are my marae. Ōpunake is my standing place. Moving across to my father's side, Hikurangi is my mountain. Waiapu is my river. Horouta is my canoe. Ngāti Porou is my tribe. However, Rolleston, Canterbury is my home now. My name is Matua Tihirangi Brightwell. I am a Māori language teacher, haka troupe and kī-o-rahi teacher at Lincoln High School. Greetings to you all.

Hello everyone! As we start to engage in this work with lots of significant concepts, we just want to make our audience aware that this is directed toward people who are beginning a conversation about significant Māori concepts. And it's a conversation begun, not one that's ended. And many of the entry points have come from a personalised space.

From all the matters that descend from a genealogy the genealogies are linked to all such words as standing place, rangatiratanga, kaitiakitanga, taonga, and tikanga. These things are all linked to the programmes that we are running. There is nothing better. It is the purpose that matters.

All of the kaupapa that are discussed are enormous kaupapa to discuss, and they are massive pukapuka in their own right. And we are able to talk about them in a way that is speaking to our kaiako and those in the education system. And we can do that because we have got the knowledge from those who have gone before us, who have handed on this knowledge to us. So there's a massive amount of kōrero to be had, and for whānau out there this is just the beginning.

Te Reo Māori

Kia ora. Ko Tuihana Pook tōku ingoa. Nō te whānau ā Kauaetangohia nō Te Whānau-ā-Apanui. Ko taku pepeha ko Tihirau te maunga, ko Whangaparāoa te awa, ko Whangaparāoa te kura, ko te marae ko Kauaetangohia, ko te tipuna whare ko Kauaetangohia, ko tana wahine ko Te Whatianga, koinā tō mātou whare kai. Ko te kura, ko Te Kura Mana Māori o Whangaparāoa. Ānei i tū nei au i mua i te rangatira nei a Hoani Retimana Waititi. Kia ora koutou.

E tū ake nei te uri o Ngāti Tūwharetoa me Ngāti Kahungunu hoki ko aku iwi i te taha o tōku māmā. Rere ana te mihi ki te iwi o Ngāti Tūwharetoa me te hapū o Tutemohuta. Ka piki ake au ki runga i te maunga tapu ko Tauhara kei raro rā e reporepo ana te moana ko Taupō-nui-a-Tia. Koinā te hononga o te waka Te Arawa. Ki te taha o tōku pāpā whāngai Ngāti Hau, Ngāti Rangi hoki i a ia anō hoki hononga ki te iwi o Whanganui ā, ki te iwi o Taranaki Whānui. Tēnei te mihi, ko Hine Waitere tēnei. Tēnei te mihi ki a koutou katoa mai i te Whare Wananga o Awanuiārangi, tēnā tātou.

Kia ora tātou. Ngā mihi nui ki a tātou katoa. Ko wai tēnei ki te taha o tōku māmā? Ko Taranaki te maunga, ko Waiaua te awa, ko Kurahaupō te waka, ko Taranaki, ko Ngāti Kahungunu ko Muaūpoko ngā iwi. Ko Ngāti Tamarongo te hapū, ko Orimupiko ko Parihaka ngā marae, ko Ōpunake tōku tūrangawaewae. Whakawhiti atu ki te taha o tōku pāpā, ko Hikurangi te maunga, ko Waiapu te awa, ko Horouta te waka, ko Ngāti Porou te iwi. Ahakoa ērā ko Waitaha, ko Rolleston tōku kāinga ināianei. Ko Matua Tihirangi Brightwell tōku ingoa. He kaiako reo māori kapa haka me te kī-o-rahi ahau ki te Kura Tuaroa o Waihora. Nō reira tēnā tātou katoa.

Kia ora tātou. I a mātou e tīmata ana ki te uru ki ēnei mahi me te maha o ngā ariā matua, e hiahia ana mātou kia mōhio te hunga whakarongo e hāngai ana tēnei ki ngā tāngata e tīmata ana ki te whakawhitiwhiti kōrero mō ngā ariā Māori matua. Ā, ko te tīmatanga o ngā kōrerorero tēnei, ehara i te mutunga. Ko te maha o ngā wāhi uru i hua ake i tētahi wāhi matawhaiaro.

Mai i ngā kaupapa katoa ka heke mai i tētahi whakapapa ko ngā whakapapa ka hono atu ki ngā kupu katoa pēnei i te tūrangawaewae, rangatiratanga, kaitiakitanga, ngā taonga, ā tātou tikanga hoki. Ko ēnei katoa ka hono ki ngā kaupapa katoa kei te whakahaeretia. Nō reira, kāore i kō atu, kāore i kō mai. Ko te kaupapa te mea nui.

Ko ngā kaupapa katoa e kōrerohia ana he kaupapa nui, ā, he pukapuka nunui tonu. Ā, ka taea e mātou te kōrero i ērā mā tētahi ara e mārama ai ā mātou kaiako me ngā tāngata i roto i te punaha mātauranga. Ka taea te pērā i te mea kei a mātou ngā mātauranga o rātou mā, nā rātou ngā kōrero i tuku iho ki a mātou. Nō reira he nui ngā kōrero, he nui ngā kōrero mā ngā whanau he tīmatanga noa iho tēnei.

• Title: Insights into kaupapa Māori: Taonga
• Description: This video explores Taonga.
• Video URL: https://player.vimeo.com/video/772263519?h=17cced2989
• Transcript: EnglishA taonga. What is a taonga? Again

A taonga. What is a taonga? Again, this word has been expanded. In the past there indeed were taonga, but it was not used lightly. Today, what is considered a taonga is so broad. There are a lot of things now that are taonga. It did not pertain to things like a patu, or things like adornments for your neck or ears. A conversation can be a taonga. A taonga is handed down. Even the deceased are viewed as taonga. I hear callers say 'return oh treasured one'. So, today, what is truly the definition of taonga?

For me, it is something that is highly prized or valued, right? And so I think that taonga can certainly manifest in terms of physical objects. You know, the things that we wear. But it’s so much larger than that because our mātauranga too is a taonga. And quite often, people hear the notion or the concept taonga tuku iho, and so that which has been passed down from our forebears. But what is passed down is tikanga, is a way of being and seeing in the world, our identity, our language and our culture. So I think that when we're starting to think about taonga, I think sometimes that's narrowly defined as physical objects that we can see, feel and touch. But actually, it's so much more than that because it is about... Even the notion of possession is a little bit hard for me to kind of associate with taonga because often, it's not an individually held or prized possession, but quite often it is a collective one that we receive as whānau or as a larger group, you know?

I have two main ideas. Firstly, it is children and young people, they are the taonga. When our whānau, our parents send their kids to school, it’s like they are taking off their taonga around their neck and they're giving it to kaiako to look after. You know, their number one taonga, out of everything, are the kids in front of us. And so we should treat them as such and care for them as such. This supports what you say, what else is a taonga? It is waiata, it is haka. It is stories, it is incantations, it is amusement, it is kī-ō-rahi, it is toys, and those types of things. it is carving, and other treasures handed down by our ancestors. So just like the kids who are in my kura, in my classroom, are the taonga handed to us for a time by their parents. We have also been gifted taonga from our tīpuna, from our ancestors, and those are the language. That's our tikanga. It's the taonga tākaro we play. It’s the karakia. It's the pepeha. It's the pūrākau, the legend and the stories. So when we are aware that these things are taonga, that will change the way, that should inform the way that we interact with them and treat them. Because this is very precious to me, and so if I give it to you, then I want you to take care of it.

He taonga. He aha te taonga? Anō, kua whakawhānuitia te kupu nei. I ngā wā o mua he taonga, ko ētahi anake ka karangahia he taonga. Ināianei, te āhua nei, hika, inā kē te whānui o te taonga. He nui ngā taonga ināianei. Kāore i titiro ki ngā taonga pēnei i te patu, i te taonga mō tō ātaahuatanga o tō kakī, ō taringa. He taonga ngā kōrero, he taonga tuku iho ērā, he taonga anō ngā, he taonga te mate Kei te rongo au i ētahi e karanga ana ‘hoki mai rā te taonga o te mate’. Nō reira, i tēnei wā, he aha te tino whakamārama mō te taonga.

Mōku ake, he mea e tino matapoporetia ana, e tino uaratia ana, nē? Nō reira ki ōku whakaaro, he tino mārakerake te kite i te taonga hei mea ōkiko, arā, ngā mea e mau nei e tātou, engari he nui noa atu i tērā, i te mea ko tō tātou mātauranga hoki he taonga. Rongo ai hoki te tangata i te kaupapa nei, te ariā nei o te taonga tuku iho, arā, ko ngā mea ērā i tukua iho mai i ō tātou tīpuna engari ko te mea kua tukua mai, ko te tikanga, he momo tūnga, he momo tirohanga ki te ao, tō tātou tuakiri, tō tātou reo me tō tātou ahurea. Nā, ki ōku whakaaro, ki te whakaaro tātou mō te taonga, he wā anō ka whāiti noa ki ngā mea ōkiko e taea ana te kite me te pā atu. Engari he hōhonu ake i tērā, otirā ko te whakaaro hoki o te pupuri i tētahi mea, he uaua mōku, te tūhono i tērā ki te taonga, i te mea kāore pea i puritia takitahitia te taonga engari kē nō te takitini kē te taonga ka riro mai hei whānau kē, hei rōpū nunui ake nē?

E rua ngā whakaaro matua āku. Mea tuatahi, ko ngā tamariki, ko ngā rangatahi ngā taonga. I te wā ka tono ngā whānau me ō tātou mātua i ā tātou tamariki ki te kura, anō nei kei te wetekina tō rātou taonga kei ō rātou kakī ā, ka tuku kē ki te kaiako māna e tiaki, otirā ko tō rātou tino taonga tērā, o ngā taonga katoa ko ngā tamariki kei mua i a tātou. Nō reira me pērā anō tō tātou tiaki, manaaki hoki i a rātou. Me te mea hoki e tautoko i tō kōrero, he aha atu ngā taonga. Ko te waiata, ko te haka ko ngā pūrākau, ko te karakia, ko te mahi a te rēhia, ko te kī-ō-rahi, ko ngā taonga tākaro, ko ērā ngā, te whakairo, ko ērā ngā taonga kua tuku iho mai i ō tātou tīpuna. Pērā anō hoki ki ngā tamariki kei taku kura kei roto i taku akomanga, he taonga tuku iho nā ō rātou mātua mō tētahi wā. Kua whiwhi taonga katoa tātou i ō tātou tīpuna, otirā ko te reo tērā. Ko ngā tikanga ērā. Ko ngā taonga tākaro e whakakorikoritia ana. Ko te karakia. Ko te pepeha. Ko ngā pūrākau, arā ngā kōrero toa me ngā pakiwaitara. Nā, kia mārama tātou he taonga ēnei mea, ka hui pea te tikanga e whai mōhio ai te huarahi e tauwhitiwhiti ai tātou ki a rātou, e manaaki tātou i a rātou. I te mea, he tino tongarerewa ki a ahau tēnei mea. Nā, ki te hoatu e au ki a koe, me tiaki e koe.

• Title: Insights into kaupapa Māori: Whakapapa
• Description: This video explores Whakapapa.
• Video URL: https://player.vimeo.com/video/772266235?h=db0f2eafe8
• Transcript: EnglishWhakapapa is extremely important in the Māori world. From genealogy

Whakapapa is extremely important in the Māori world. From genealogy, you know who you are and where you are from, where you originated from. You know your land you know your territory, your hapū. It begins with your pepeha, that is, your mountain, your river, and down to your hapū. Others mention your connections to your marae. It is a huge thing if you know your genealogy. Then you can make links to your relatives from each and every tribe. That is all I have to say.

Thank you. You are correct. Whakapapa is the beginning of all things. Everything begins with whakapapa, and we know that we whakapapa to Ngā atua. And whakapapa to me is a collection of stories and lives and experiences and important works and deeds and people that came before me. And that's all my whakapapa. I'm here now in the present but if you look behind my shoulder, you'll see all of my ancestors behind me, and all of their mahi and their deeds.

Yes, me too. It is about certainly... it gives you a place to stand. It gives you a right to be in a particular place and to be able to connect to, as you were saying, to people, to atua, to things, to historic moments in time. But it also comes with roles and responsibilities. You know? So I think whakapapa for me, when it puts you into a matrix of relationships with people and with place, it doesn't come free. Yeah? It comes with a real need to understand then - what are my roles and responsibilities in this place? Yeah? Having this as a korowai (cloak) of who I am and where I come from.

If we want to localise it, then what I would say is an example of whakapapa in kura is understanding your mana whenua, and learning about your mana whenua in your area. And so to understand where you are, and where your school is, you are under the korowai, you are under the protection and the mana of the people of the land in your area. So get to know them, learn about their stories, learn about their people, learn about their marae, learn about the whenua. Why is their awa called that? Why is the maunga called that? Why is the marae called that? What’s the whakapapa of my area? So that would be a way for any kura to be able to engage in any learning context, is to draw on the whakapapa of the place where you are, among a whole range of things.

But equally, you know, we've got a whakapapa of our way of understanding and classifying and engaging the world. We might start with Rangi and Papa, right? Papatūānuku, Ranginui, and all of the atua that came from that have a whakapapa. And what we’re trying to do is to create an understanding of who we are and where we've come from. Not only physically, physiologically, but conceptually as well.

And so it's really vital that we say to the children: Know who you are. Don't be shy or embarrassed. Don't be shy or embarrassed of, you know, my father's this, or my mother is that. People are treasures. You are a treasure. So every person is important. Every person is unique because they have a whakapapa.

Ko te whakapapa te mea nui i roto i te ao Māori. Mai i te whakapapa ka mōhio koe ko wai koe, nō hea koe, i ahu mai koe i hea. Ka mōhio koe tō whenua ka mōhio koe tō takiwā, tō hapū. Ka tīmata mai tō pepeha arā tō maunga, tō awa, heke iho ki tō iwi. Ka hari ētahi ki tēnā marae, ki tēnā marae. He mea nui mehemea kei te mōhio koe tō whakapapa Ka taea e a koe te hono atu ki tēnā o ō whanaunga ki ērā o ō whanaunga mai i tēnā iwi ki tēnā iwi. Huri au, koirā tāku.

Tēnā koe. Tika tāu. Te tīmatanga o ngā mea katoa ko te whakapapa Ka tīmata ngā mea katoa i te whakapapa, me te mōhio anō e whakapapa ana tātou ki ngā atua nā, ko te whakapapa ki ahau he kohinga kōrero, oranga, wheako hoki me ngā mahi, ngā mahi nunui me nga tāngata nō mua i ahau. Koinā katoa taku whakapapa Kei konei ahau ināianei, Engari ki te titiro koe ki tua o taku pakihiwi, ka kite koe i ōku tīpuna katoa, kei muri i ahau, me ā rātou mahi nunui.

Āe, me au hoki, he tūmomo pūmautanga - e whai tūranga ai koe. Ka whai mana koe ki te tū i tētahi wāhi me te tūhono atu ki taua wāhi, pērā i āu kōrero i mua, te hononga ki te tangata, ki ngā atua, ki ngā āhuatanga mīharo o mua. Engari tērā anō ōna here, ōna haepapatanga. Nē rā? Nā, ko te whakapapa ki ahau, ka whakanoho i a koe ki roto i tētahi mahere o ngā hononga ki te tangata, ki te wāhi, otirā ehara i te mea kāore he utu. Nē rā? Me tino mārama koe he aha aku mahi me ngā haepapatanga i tēnei wāhi? Nē rā? Kia noho tēnei hei korowai mōku, ko wai ahau, ā, i ahu mai au i whea. Ki te hiahia kia whakahāngaitia tēnei, nā ko taku tauira pea o te whakapapa i roto i te kura, ko te mārama ki tō mana whenua, te ako i ngā kōrero mō tō mana whenua i tō rohe. Kia mārama koe ko wai koe, kei hea tō kura, kei raro koe i te korowai, i te kākahu whakamaru me te mana o te iwi o te whenua i tō rohe. Me mōhio koe ki a rātou, me ako i ā rātou kōrero, me ako ko wai ō rātou tāngata, me ako i ngā kōrero mō ngā marae, me te whenua. He aha i whakaingoatia ai tō rātou awa ki taua ingoa? He aha i whakaingoatia ai tō rātou maunga ki taua ingoa? He aha i whakaingoatia ai tō rātou marae ki taua ingoa? He aha te whakapapa o taku rohe? Nā, he huarahi tērā e tauwhitiwhiti ai tētahi kura i ngā horopaki ako katoa, arā, te nanao atu ki te whakapapa o te wāhi e noho nā koe, tae atu ki ētahi atu āhuatanga whānui.

Tāpiri ki tērā, he whakapapa tā mātou o te huarahi e mārama ai mātou, e whakarōpū ai mātou, e whakauru ai mātou ki te ao. Ka tīmata pea ki a Rangi rāua ko Papa, nē? He whakapapa tō Papatūānuku, tō Ranginui, tō ngā atua katoa i ahu mai ai i a rāua, ā, ko tā mātou e whakamātau nei, ko te whakapiki i te māramatanga ko wai mātou, ā, i ahu mai mātou i hea. Kaua ko te taha tinana me te taha hinengaro anake, engari te taha ariā hoki.

Nō reira he tino waiwai te kī atu ki ngā tamariki, Me mōhio ko wai koe, kaua e whakamā. Kaua e whakamā ki te kī, anei taku pāpā, anei taku māmā. He taonga, he taonga te tangata, he taonga koe. Otirā he hira ngā tāngata katoa. He ahurei ia tangata i te mea he whakapapa tōna.

• Title: Insights into kaupapa Māori: Tūrangawaewae
• Description: This video explores Tūrangawaewae.
• Video URL: https://player.vimeo.com/video/772268081?h=af30dde728
• Transcript: EnglishSo let's break down the word tūrangawaewae. Tūranga means the place where I am standing. Tūrangawaewae is where my feet stand. To me

So let's break down the word tūrangawaewae. Tūranga means the place where I am standing. Tūrangawaewae is where my feet stand. To me, tūrangawaewae is the place where I grew up, where I was born. To some of us, the place the umbilical cord was cut and returned to my original home. That's where I'll go back to. I know it's my tūrangawaewae, the place I'll go back to even if I've been to other regions or other schools. There is no other place like my tūrangawaewae, or to others, my original home (ūkaipō), but I refer to it as my tūrangawaewae, ok?

As I reflect on this word tūrangawaewae, some pictures come to mind which is my interpretation of this word. So what's this word tūrangawaewae to me? It is my mountain, where I grew up, between Mount Taranaki and the sea, the site of my marae, the village where my ancestors slept, that is the place. So my tūrangawaewae is there. Although I live on this side of the country in Te Waipounamu (South Island), in Canterbury, and although that is my home, where I have two children. Despite these things, my tūrangawaewae is in Taranaki, in Te Ika-a-Māui (North Island), the land of my ancestors, my marae, the land. Like you friend, when the time comes for me to sleep eternally, I will return to my tūrangawaewae, beside my ancestors. So my tūrangawaewae is there.

And most of us now... You return. When you are born in your tūrangawaewae, you return to the tūrangawaewae upon your death. And most people are like that. When they pass away, they'd like to go home to their tūrangawaewae.

So if I was in an educational context, I would ask the people in there - what is it about the concept of tūrangawaewae that you want to draw across from a customary context and relocate into an educational one? And building on those ideas, is it the idea of security, of connectedness, of location? Because I know lots of ākonga feel displaced in kura, in large spaces. So they may want to come to a particular home room or into a whare or to somewhere else and say 'this is our space, this is my place'. I feel secure here, I feel connected.

Some of our kids in our big schools, they look for what we can term a tūrangawaewae. So some of our big schools organise clubs. They have things like the Māori club, Pacific Island club, Samoan club, just for a home base. And a lot of our mokopuna find it really... There’s a wairua there. They head for those - that area.

Nō reira, te tūrangawaewae ka wetewetehia te kupu. Ko te kupu tūranga ko taku wāhi i tū ai au. Tūrangawaewae ko te wāhi i tū ai waku waewae. Nō reira, tūrangawaewae ki ahau ko taku wāhi i tipu mai ahau, i whanau mai ahau, ki ētahi o tātou te wāhi i katohia taku pito ka whakahokia ki taku ūkaipō. Koirā te wāhi ka hoki au ka mōhio au koirā tōku tūrangawaewae te wāhi ka hoki au ahakoa haere au ki ētahi atu takiwā ētahi atu kura, kāore i kō atu koirā tōku tūrangawaewae ki ētahi tōku ūkaipō, engari, ki ahau tōku tūrangawaewae. Ka pai?

Ki ahau nei i ahau e whakaaro ana ki tēnei kupu tūrangawaewae, ka puta ētahi pikitia ki taku hinengaro ko tērā taku whakamārama o tēnei kupu Nā reira, he aha tēnei kupu te tūrangawaewae ki ahau? Ko taku maunga, ko te wāhi i tipu ake ai au, i waenganui i a maunga Taranaki me te moana, te wāhi o taku marae te pā i reira i moea ōku tīpuna, ki reira hoki. Nā reira, kei reira tōku tūrangawaewae. Ahakoa ka noho au ki tēnei taha o te motu ki Te Waipounamu, ki Waitaha, ahakoa tērā, ko tērā taku kāinga, kua puta ētahi tamariki tokorua. Ahakoa aua mea kei Te Ika a Māui, kei Taranaki tōku tūrangawaewae te wāhi o ōku tīpuna, tōku marae, te whenua. Pērā i a koe, e hoa i te wā ka moe au mō te wā whakamutunga ka hoki au ki tōku tūrangawaewae ki te taha o ōku tīpuna. Nā reira, ko te wāhi tōku tūrangawaewae.

Ko te nuinga o tātou ināianei Ka hoki koe. Ka whānau mai koe i tō tūrangawaewae, ka mate koe ka hoki koe ki tō tūrangawaewae. ā, ko te nuinga he pērā, ki te mate te tangata, ka hiahia kia whakahokia ki tō rātou tūrangawaewae.

Nā, mēnā au i tētahi horopaki whakaako ka pātai atu au ki te tangata he aha te wāhanga o te ariā o te tūrangawaewae kia whakawhitia i tētahi horopaki ā-tikanga me te whakanoho i roto i tētahi horopaki whakaako? Waihoki ko te whakatipu haere mai i aua whakaaro, ko te whakaaro rānei pea o te haumaru, te tūhonotanga, te tūwāhi? E mōhio ana au ki te tini ākonga, kāore i te pai te noho i ngā kura, i ngā taiwhanga nui. Nā reira ka hiahia pea rātou ki te haere mai ki tētahi rūma kāinga, ki tētahi whare rānei, ki tētahi atu wāhi rānei, ka kī atu 'koinei tō mātou mokowā, koinei taku wāhi'. Ki konei au noho haumaru ai, noho tūhono ai.

Ko ētahi o ā tātou tamariki i ngā kura nui, e kimi ana i tētahi wāhi hei tūrangawaewae. Na, ko ētahi o ō tātou kura nui, e whakarite karapu ana. Pēnei i te karapu Māori, te karapu Pasifika, te karapu Hāmoa hei kāinga noa iho mō rātou. Otirā he huhua ā tātou mokopuna e rongo ana i tētahi wairua i reira. Ka kotahi atu rātou ki aua wāhi - ki taua takiwā.

• Title: Insights into kaupapa Māori: Whanaungatanga
• Description: This video explores Whanaungatanga.
• Video URL: https://player.vimeo.com/video/772283287?h=59ad1716be
• Transcript: EnglishWhanaungatanga is important to us all. From whakapapa you know who your close relatives are

Whanaungatanga is important to us all. From whakapapa you know who your close relatives are, who your distant relatives are, what is your relationship and connection to other iwi, the whakapapa of your mother and father. That's what whanaungatanga is. Again, when we take it into the classroom, there is more to say explaining to the children who their relatives are and what are the connections between each of them. Through whanaungatanga we know who we are and where we are heading.

For me, what we know as whanaungatanga involves the relationships within the whānau. There are no stronger bonds, no better bonds than those between whānau, are there? So my desire is to see this within sports teams, in the classroom or in groups, in the kapa haka group, and to see bonds like those within whānau. So, yes, it's such an important concept to me. And what I would promote and what I promote in my classroom or my sports team that I coach, or groups that I might be a part of, is creating these bonds of whanaungatanga, which is what we’re trying to capture that real strong bond that, you know, familial members have, which are so strong. And if we can have that between our classes, our students, and our kaiako and across kāhui ako then those can survive many things and that pull which is what whanaungatanga is, that connection is so strong that we can just we can get on with the mahi. We can have some setbacks and we can succeed. And ultimately, our hononga (connection) remain the same.

So for me too, I think that there’s two elements for me. So there is for me personally when I think about whanaungatanga, it is about the interrelationships between my whakapapa. Yeah? Those who I am, the people that I am born into and with and alongside. So it brings to mind things like tuakana, teina, roles and responsibilities, so the nature in which the relationships play out. And then I'm more conscious in my professional role or within schools that actually we've wanted to draw across lots of those key elements or indicators of good, strong relationships from a customary context into a school-based context. And thinking about whanaungatanga, or whakawhanaungatanga, the enactment of it. We need to think about what are powerful relationships of interdependence when we observe students working with other students? And for example, some teachers have talked about the fact that students actively choose to work in multicultural groupings of their own choice because they're able to value each other's point of view. Others think about, well, what does a fundamental relationship of interdependence look like teacher-to-teacher, or kaiako-to-kaiako? And again, what does it look like when we are in our team meetings, with regard to a diversity of opinion, diversity of insight, diversity of ideas, thoughts and planning? But equally, we also have to think about - what does it look like kura out to our whānau, out to our community? What do fundamental relationships of interdependence look like then? And that might be us positioning ourselves as learners rather than simply as kaiako.

He nui te whanaungatanga ki a tātou. Ka hoki anō ki te whakapapa o te tangata. Mai i te whakapapa ka mōhio koe ko wai ōu whanaunga tata ko wai ōu whanaunga tawhiti, he aha tōu whanaungatanga, tōu honotanga ki tētahi atu iwi ngā whakapapa o tōu māmā me tōu pāpā Koinā te āhuatanga o te whanaungatanga. Kuhu mai anō tēnei i roto i ngā akomanga, arā anō te kōrero te whakamārama ki ngā tamariki ko wai wō whanaunga nā, he aha te honotanga ki tēnā ki tēnā ki tēnā. I runga i te whanaungatanga ka mōhio tātou ko wai tātou nā, kei hea tātou e ahu pēhea ana.

Ki ahau nei, tēnei mea ko te whanaungatanga ko ērā hononga e noho i waenganui i te whānau. Kāore he hononga e kaha, e tua atu i tēra hononga whānau ki te whānau, nē? Nā reira, ko tōku hiahia kia kitea ki ngā kapa hākinakina ki te akomanga, ki te rōpū rānei, te rōpū kapa haka ā, kia kitea ēnei hononga pērā i tērā o te whānau. Nā reira, Āe, e pērā rawa ana te nui o tēnei kaupapa ki a au ā, ko tāku e whakatairanga ai, ā, ko tāku e whakatairanga nei i tōku akomanga i ngā kapa hākinakina e whakaakona nei e au, i ngā rōpū kei reira au pea hei mema Ko te hanga i ēnei hononga o te whanaungatanga, arā ko te whakamātautau kia mau i a tātou tērā hononga tino kaha, e mōhio ana koe, e puritia nei e ngā mema o te whānau, he pērā rawa te kaha. Ā, mēnā ka pērā i waenganui i ā mātou karaihe, i ā mātou ākonga i ā mātou kaiako hoki, ā, puta noa i te kāhui ako ka ora ai rātou i ngā āhuatanga maha, ā, ā, ko taua kumetanga me taua whanaungatanga, e pērā rawa taua hononga ka taea noatia e tātou te mahi te mahi, ā, ahakoa ētahi heke ka puta ngā piki. Ā, i te mutunga iho, e toitū ana ō tātou nei hononga.

Nā, mōku ake hoki, ki tōku whakaaro e rua ngā wāhanga. Nā reira mōku ake ina whakaarotia te whanaungatanga e au e pā ana tērā ki ngā piringa maha nō roto mai i tōku nei whakapapa. Nē rā? Ki ērā tāngata o te whānau e whānau mai ana au, e noho tahi ana au. Nā, ka mahara ake ngā mea pēnei i te tuakana, i te teina, ngā tūranga me ngā haepapa, arā ko te āhuatanga kei roto rā te haere o ngā piringa. Ka mutu, kei roto i tōku tūranga ngaio, kei roto rānei i ngā kura, he tūoho ake au kua hiahia mātou kia tōia he maha o aua wāhanga matua aua tohu rānei o ngā hononga pai, hononga kaha rānei mai i tētahi horopaki ā-tikanga ki tētahi horopaki ā-kura. Me te whakaaro hoki ki te whanaungatanga, ki te whakawhanaungatanga rānei, me tōna whakatinanatanga. Me whakaaro tātou he aha ngā hononga kaha e taupuhipuhi ana nō mātou e mātakitaki ana i ngā ākonga e mahi tahi ana ki ngā ākonga? Hei tauira, kua kōrerohia e ētahi kaiako mō te meka e kaha kōwhiri ana ngā ākonga ki te mahi i ngā rōpū kākano maha nā te mea ka taea e rātou te ngākaunui i ngā tirohanga o tēnā, o tēna. E whakaaro ana ētahi atu, he aha te āhua nei o tētahi tino piringa taupuhipuhi kaiako ki te kaiako? Me te mea anō, he aha tōna āhua i roto i ō tātou hui ā-rōpū e pā ana ki te kanorau o ngā tirohanga, o te māramatanga, te kanorau o ngā huatau, o ngā whakaaro me te whakamahere? Me ōrite tō mātou whakaaro, he pēhea tōna āhua mai i te Kura ki ō mātou whānau, ki tō mātou hapori? Me te aha he pēhea te āhua nei o ngā tino piringa taupuhipuhi? Ko te whakautu pea ko te whakanohoia o tātou hei ākonga, kaua hei kaiako aneke.

Assessment Matrix

Conditions of assessment for internally assessed standards.

These Conditions provide guidelines for assessment against internally assessed Achievement Standards. Guidance is provided on:

• specific requirements for all assessments against this Achievement Standard
• appropriate ways of, and conditions for, gathering evidence
• ensuring that evidence is authentic.

Assessors must be familiar with guidance on assessment practice in learning centres, including enforcing timeframes and deadlines. The NZQA website offers resources that would be useful to read in conjunction with these Conditions of Assessment.

The learning centre’s Assessment Policy and Conditions of Assessment must be consistent with NZQA’s Assessment Rules for Schools with Consent to Assess . This link includes guidance for managing internal moderation and the collection of evidence.

Gathering Evidence

Internal assessment provides considerable flexibility in the collection of evidence. Evidence can be collected in different ways to suit a range of teaching and learning styles, and a range of contexts of teaching and learning. Care needs to be taken to allow students opportunities to present their best evidence against the Achievement Standard(s) that are free from unnecessary constraints.

It is recommended that the design of assessment reflects and reinforces the ways students have been learning. Collection of evidence for the internally assessed Standards could include, but is not restricted to, an extended task, an investigation, digital evidence (such as recorded interviews, blogs, photographs, or film), or a portfolio of evidence.

Effective assessment should suit the nature of the learning being assessed, provide opportunities to meet the diverse needs of all students, and be valid and fair.

Ensuring Authenticity of Evidence

Authenticity of student evidence needs to be assured regardless of the method of collecting evidence. This must be in line with the learning centre’s policy and NZQA’s Assessment Rules for Schools with Consent to Assess .

Ensure that the student’s evidence is individually identifiable and represents the student’s own work. This includes evidence submitted as part of a group assessment and evidence produced outside of class time or assessor supervision. For example, an investigation carried out over several sessions could include assessor observations, meeting with the student at a set milestone, or students’ use of a journal or photographic entries to record progress.

Students may work on this Achievement Standard both in class and at home. The final presentation of evidence must be completed with appropriate assessor supervision to ensure authenticity.

Students are required to submit either a transcript of the context they have used for this assessment (being aware of any cultural protocols or sensitivities) or a link to the source material (text) they are using for the Achievement Standard with their work.

Assessors should use their discretion when considering the appropriateness of the context the students will be using and whether there are any cultural or personal safety issues that could arise during the assessment.

Assessors should check that the context and text types (when appropriate) chosen by students provide sufficient verbal language, at an appropriate level.

Assessor involvement during the assessment event is limited to feedback that consists of broad guiding statements. For example, “what further examples could you provide as evidence, and where is the best place for them?” Feedback should avoid correction of specific details.

Word and time limits in the Assessment Activities are indicative only. It is expected that students should be able to meet the Standard within these limits, but professional judgement should apply.

This standard assesses students’ own literary interpretation of texts. This may take a variety of forms. Students may choose text(s) studied in class or independently studied text(s). While the study of a text may be assessor-directed, the ideas, descriptions, explanations, and discussions must be the student’s own work. While assessors can assist students to select appropriate text(s) and aspects of text(s), the teaching must use different text(s) or aspects from those used for assessment. The expectation is that students are to demonstrate their own understanding of aspects of studied text(s).

Text types could include extended texts, short texts, poems, song lyrics, graphic novels, short films, films, podcasts, etc. Assessors should check that the text choice will allow students to respond with appropriate depth. Text(s) should be age appropriate, eg not inclusive of films that are R16 for students under the age of 16.

Assessor involvement during the assessment event is limited to feedback that consists of broad guiding statements and supporting students to reflect on their own progress to inform their next steps. Feedback must avoid correction of specific details or ideas.

Assessors should ensure student evidence at any achievement level includes sufficient evidence that the grade is met across all aspects. Where more than one text is referred to, assessors must be confident that there is sufficient evidence across all texts and aspects that the grade is met.

Specific and relevant details from the text are needed to support the student’s understanding of aspects of text. Details can include quotations or specific description. Plot summaries, and lengthy description that is not linked to demonstrating understanding of specific aspects of text, are not required. Selection of evidence for submission is to be carried out by the student.

Word and time limits in the Assessment Activities are indicative only. It is expected that students should be able to meet the Standard within these limits, but it is not a requirement of the Standard that they do so.

Students will be assessed on the quality of their response, not the presentation of the response.

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