Living History

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Getting up close and personal with ancient history was easier in the 70s (that’s me on the far left)

The new national curriculum expects children as young as six to successfully tackle prehistory, but if you ask them what life was like in prehistoric Britain you’d think they gained most of their knowledge from cartoons. Ask a small child to tell you about prehistory and they will mainly tell of a world that is part roaming dinosaur, and part club-wielding caveman. If you ask a child to draw their idea of what life was like in prehistoric Britain, the picture is generally of something along the lines of a sabre-toothed cat eating a woolly mammoth with Fred Flintstone wandering around in the background. I quickly realised that when I was visiting schools with my books I needed to challenge that perception and show them what life was really like.

I went back to the drawing board as talking about prehistory was simply not going to be enough. I thought back to what made me a history addict – how did I become the kind of person who values the place the ancient past has in my life? My love of history started in childhood and remained with me and my first job as a historical researcher allowed me to wade into even deeper waters of the past. I have contributed to, and supported historical research for decades, and last year my own book on the Neolithic site of Skara Brae was published and is now a bestseller. But what inspired that love of history in the first place?

History has always played a big part in my life. For me and my sister every holiday was another adventure of clambering over ancient ruins or running around stone circles. We didn’t have a lot of money, and travel in the 1970s never involved planes, and so that meant visiting historical sites in the UK. My family valued history, but that was only part of it. My school was not blessed with endless funds, and it had very limited resources, leaking roofs, cold classrooms and huge class sizes – but we were close enough to the Roman museums and sites of Verulamium to have school trips there. When I was eight we visited the museum and I was allowed to hold a Roman lamp. I can remember that moment as clear as if it were yesterday. I’d seen pictures of Roman lamps, and hadn’t really given it much thought, but here it was in my hand, a real lamp, and suddenly everything made sense. I could see exactly how it worked. I could almost smell the oil burning and picture the puddle of flickering light that it would cast as I walked the corridors of my villa. That tiny moment holding a real object gave me a physical link to the past.

I’ve worked in primary schools for over decade and, since the publication of my book, I’ve been invited into schools to talk about prehistory. I talk about the creativity and imagination of prehistoric people and how they used that creativity to add to their lives beyond the basic need to survive. I do this by using my Neolithic hamper. In the hamper I have things that would have been familiar objects to the people living in Skara Brae. I expected that most children would not have stroked deer hide, or handled antlers, but what surprised me was how few children knew what limpets were, or driftwood. The objects in my hamper have inspired some wonderful drawings, stories and poems about life in the Neolithic and it demonstrated just how important handling objects is to embedding higher levels of understanding.

There is something in the human psyche that craves physical contact with historical objects to fully understand them, and to forge a stronger link with them. You have only to stand in the British Museum for a few minutes to see how people can’t resist reaching out to touch the exhibits. It is not enough to look at something on a screen. No matter how glorious the 3D rendering is, it can’t possibly compete with the experience of seeing something come to life in the real world.

GET REAL!

How can we make it real in the classroom? Not every child is going to be lucky enough to visit ancient sites, or attend activity workshops, so what can we do in schools? Dr. Tess Machling of the Prehistoric Society has written on my blog before about using archaeology in the classroom. In her post she talked about the importance of being hands-on, and how being able to have physical contact with the processes of archaeology is important to understanding. We are incredibly lucky in the UK in that we have people all over the country working in the field of archaeological reconstruction, and many of these work within schools. It is eminently affordable for schools to find enthusiastic experts who can visit and show how objects were made, and how they were used.

Thanks to the many wonderful makers of replica items in the UK it is possible to create a learning resource box for the school that can be used for many years and adapted to suit different themes, however nothing beats having the expert there with you. I believe that it is not enough to buy the object – to fully engage with the subject you need the skills of the expert too. You need a knowledgeable and passionate expert who can breathe life into the subject.

The extraordinary knowledge and experience of people like Roland Williamson (historian, re-enactor and museum quality replica creator) is worth every penny. Sessions held either in schools or local museums form an essential part of embedding that higher-level understanding of history that all teachers are looking for. Sally Pointer and Gareth Riseborough spend their lives exploring aspects of early technology and then they bring this to life. Their craft demonstrations allow people to see first-hand how people did everything from metalworking to sock making!

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Graham Taylor’s stunning grooved ware pots

Seeing how ostensibly familiar objects are made is a wonderful way to show how creative people in prehistoric societies were. Potter Graham Taylor not only brings the  art of making of ancient pottery to life, but in the process the children themselves are able to create something that is a tangible link to the past. A fragment of a pot, or an illustration of a reconstruction does not even come close to watching a pot emerge from a ruddy lump of clay.

Historian and archaeologist, Kim Biddulph, has the most wonderful website that gathers together the details of a huge number of experienced and qualified people who are able to develop and deliver living history sessions in your area.

The UK is full of people who will bring history to life, from prehistory to the Cold War. If living history in your school means little more than wearing an old bedsheet for the day and calling it Greek Day, maybe it’s time to encourage subject leaders to think again. To really bring history to life, you need an expert.
Dawn Finch is the author of the educational book series Prehistoric Britain, and book one in the series is Skara Brae. Dawn is also President of the Chartered Institute of Library and Information Professionals and a member of the national committee of the Children’s Writer and Illustrators Group and writer of fiction for older children.

For more information about school visits and talks, contact me on author@dawnfinch.com

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Facts and First Readers

small child reading image

I have been teaching children to read for around fifteen years and in that time I have seen a huge leap in the quality of reading schemes for children and young people. We have moved from tedious and formulaic material, to extraordinary schemes filled with beautiful imagery and content that is designed to engage developing readers. Sadly these schemes can be expensive and I am often asked by teachers and parents how they can use the books that they already have to support and develop young readers. As a non-fiction writer myself I also spend time thinking how I can use my books for creativity, and if they are accessible for the children who will use them.

As a children’s librarian I know that there are some children who only want to read non-fiction, but this represents a challenge to those teaching the mechanics of reading as these books do not always lend themselves to a progressive reading scheme. It is actually quite simple to choose non-fiction for teaching reading, but it takes careful selection and consideration.

So what are we looking for in a good non-fiction book for this purpose?

To successfully use a non-fiction book to teach reading we need these boxes ticked

  • Clean and uncluttered fonts

Many fonts act as a blockage to developing readers and confuse the child

  • Sharp and clear images with labels that link and explain

Those blurry and arty photos and illustrations are all very well in adult books, but can a child actually recognise what the picture is? This might be the first time the child has “met” this concept and the picture is an essential part of understanding what the words are saying, don’t leave them guessing.

  • Good use of different colours and well sectioned

Paragraphs and sections in different colours or boxes can help a child feel a sense of achievement. If they can’t tackle the whole page, they can do one section at a time.

  • A concise and readable contents, glossary and index

These are all essential parts of a great non-fiction book as it is the key to successfully navigating the text. To a child understanding these parts of a book is like being shown the secret to finding your way around a book without reading the whole thing, or asking for help.

  • A good mix of language using higher level vocabulary in context

Great non-fiction isn’t afraid of adding in higher level vocabulary to drop new words and concepts into a child’s life. This should be embedded in contextualisation and surrounded by solid visual prompts. When we are teaching reading we need the child to not just struggle through a whole bunch of hard words, and so a good mix is ideal.

  • Tells us something new

So many non-fiction books for children cover the same ground. I know that this is not thanks to the writers who would love to drop exciting new gems into the text, but publishers often err on the side of caution and cover familiar ground. Don’t! Each book on a subject should endeavor to tell us something that we didn’t know before.

  • Is not just there to look pretty!

There is space for books that simply look beautiful and are a joy to own, but if you are trying to use them to teach reading you need a little bit more.

When we’ve chosen the books we want to use to teach reading, we need to remember a few more things to make it work.

  • The child must choose the subject matter

Ownership of the task is important and enjoyment is the key to success

  • Start by exploring the index, contents and glossary

Help the child to first browse what’s in the book. Show them that the contents page is a bit like a tv guide, and they can quickly see what might interest them.

  • Only start reading the main body text at the very beginning if that’s where the child wants to start

Dip in and out, flick back and forth and stop at pages that catch their eye.

  • Don’t quiz!

Okay, so I know that this will probably get many teachers angry here, but I hate quizzing. It works for some children, but for many it is a dreaded task and it ruins the natural flow. Use it with great care, and informally chat instead. Tell them what you have discovered, and let them tell you what they liked and discovered. Make it a two-way process.

I have mainly used non-fiction with children who are not engaging with the process of reading and who do not like fiction. These children have often decided that reading is not for them, and so I have to be extra careful how I handle them and to make sure that I first tackle their dislike, and then tackle the skills.

Let’s look a case study….

I had great success with two non-reading Autistic boys by using only the books that they loved, not an easy task as they were really only passionate about maps. They both said that they “hated” books and refused to even try to read. One angrily told me that fiction was “rubbish” and both would not even sit and look at fiction book. Using an atlas to teach reading is not exactly easy, and it took a while to find atlases that ticked all of the above boxes, but when I did it made a world of difference (no pun intended!)

I constructed a long list of place names that contained other words, and I printed off visual prompts for the words that were “hiding” in the different countries (Germany has germ, and man, and many, and any for example). We looked at the kind of things that grew in the countries (“where does your favourite food come from?”), and the dates the countries were discovered (great for showing how long numbers look when written in words). We found out about the people who discovered the countries and the ships that they sailed in. We even looked at the languages of all of the other countries and I found foreign words that were the same root origin as ours, and many strange ones that we’d never heard of before (this was great for embedding phonetic skills rather than using confusing nonsense words). I had a huge National Geographic World map that we spread out on the floor and we found the places that we’d read about in our Atlases. We “explored” the globe and the boys learnt how to read almost by accident. They were so invested in unlocking the mysteries of the text around the maps that they almost forgot they were having reading lessons.

I knew that I would probably never create in them the kind of people who would sit and read War and Peace out of choice, but that didn’t matter to me. My aim was to give them a skill that would make the rest of their lives easier and better, and we achieved that together in a way that was hugely enjoyable for all of us.

In November I was invited to hand out the awards for the ISG Reference Book of the Year and I wanted to share with you the three books that were shortlisted for the award for the best information resource for young people. These three books represent perfect examples of great books to engage children not only in the mechanics of reading, but also in the joy of reading for pleasure.

tinyTiny, the Invisible World Of Microbes by Nicola Davies and Emily Sutton explains some high-end and complex concepts with exactly the right balance of commonplace and new words. The illustrations are beautifully pitched and support the text in a way that the child can easily identify with. There is a familiarity in the friendliness of the illustrations that allows a sense of ownership over some ideas that will be very new for the developing reader.

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Shackleton’s Journey by William Grill takes the reader on an extraordinary journey through a subject matter that has not traditionally been covered for this age group. The stunning illustrations blend effortlessly with text that has been perfectly pitched for the developing reader. The balance of words and pictures is just right, and there is more than enough visual stimulation to keep the eye on the page whilst we tackle the text.

animalium

Animalium by Jenny Broom and Katie Scott (the winner of the ISG Information Resource for Children Award 2015) is a glorious trip to a Natural History Museum in book form. Its large format allows the reader to tumble into its remarkable illustrations and the accompanying text, though challenging, is great for the developing reader. The descriptive paragraphs are short, but to the point, and introduce us to all sorts of new things including Latin names.

These three books represent a small section of the very best non-fiction books for children, and they also demonstrate that some publishers are willing to take a risk and publish books that will both engage and delight.  When all is said and done, one of the most important things that we need to remember is that teaching the mechanics of reading is completely different to creating an ethos of reading for pleasure, but that doesn’t mean it shouldn’t be pleasurable. If a child is not enjoying the process, they are far less likely to become passionate lifelong readers and that’s a long term aim that matters to all of us.

Dawn Finch

Vice President CILIP

Children’s author and literacy consultant 

CWIG Committee Member

http://www.dawnfinch.com

@dawnafinch

This post was written in support of the Federation of Children’s Book Groups as part of their celebration for National Non-Fiction Month. To find out more about the excellent work of the Federation, and to support their work, please click the link below.

Federation of Children's Book Groups

Reading – what’s in it for me?

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For those of us addicted to reading we know exactly how enjoyable it is, but in an increasingly busy world it is often hard to make time for it, so why should we bother? There is no doubt that reading improves literacy levels, and higher literacy levels allow people to gain better educational results, and in turn get better jobs, but is that enough of an incentive to make people want to read? Despite the evidence about the benefits of reading we still see reports in the news about falling national literacy levels and the decline in reading. The Reading Agency decided that in order to tackle this it was time to look beyond literacy levels and consider the wider personal benefits of reading for pleasure*.

The Reading Agency received generous funding from the Peter Sowerby Foundation for a collaborative project to develop a reading outcomes framework. The main aim of the project was to collate and summarise the findings of the most robust studies that related to non-literacy outcomes of reading for pleasure or empowerment*. A steering group was formed from the collaborative organisations and the report (conducted by BOP Consulting) was compiled. As Vice President of CILIP (the Chartered Institute of Library and Information Professionals) I was invited to be part of the steering group, and I am delighted to now be able to share this report.

The report: The Impact of Reading for Pleasure and Empowerment, contains a powerful and undeniable message – reading is good for you.

The report confirms that people who read for pleasure benefit from a huge range of wider outcomes including increased empathy, alleviation or reduction in the symptoms of depression and dementia, as well as an improved sense of wellbeing. People who read for pleasure also have a higher sense of social inclusion, a greater tolerance and awareness of other cultures and lifestyles, and better communication skills. When we looked at the impact of reading for pleasure on people with increased health needs or issues, we found that people who were reading for pleasure demonstrated better health literacy, and were more able to cope with, and access, information related to their conditions. People who read for pleasure also showed lower levels of general anxiety.

For children and young people the evidence obviously demonstrated that children who read for pleasure had higher levels of educational attainment, but what is most interesting is how it improves the overall quality of their lives. Children and young people who read demonstrate significantly enhanced emotional vocabulary. In short, the young people who read like themselves better and cope with life better. They are more likely to use positive mental self -imagery and generally used more positive vocabulary in both their work and their lives.

This shows us that reading for pleasure is an important way of helping us to tackle issues such as social isolation, teenage depression, negative self-image, and social and educational disengagement. Reading for pleasure can make an isolated and depressed young person feel better about who they are and can make them more confident about the importance of their unique role in the world.

What can we do?
A key finding of the report is that extensive studies show that enjoyment of reading is a prerequisite for all these positive outcomes: people who choose to read, and enjoy doing so in their spare time, are more likely to reap all of these wider benefits. Negative attitudes towards reading for pleasure therefore have a much wider negative impact, and it’s essential that we create a far more positive attitude towards reading. We can throw out the “haven’t got time” and “reading is a waste of time” comments because we can clearly see that if you are reading for pleasure you are doing something that will improve the long-term quality of your life and your health.

It is worth noting that this process has to be about reading that is a free and voluntary choice. This is distinctly separate from learning how to read, and it is not the same as reading that is undertaken for study or educational purposes. In order to benefit from the wider outcomes of reading for pleasure we need to focus only on one word – pleasure. At school a focus should remain on uncritical free voluntary choice reading. Children and young people should be able to read freely from a wide range of material. They should be able to choose whatever format and style of reading material they want without feeling that it is yet another lesson or form of study. To facilitate this it is simply not enough to only have reading schemes and reading lessons, pupils of all ages require access to a well stocked school library and this will give them a better chance of becoming lifelong readers. To nurture a reading for pleasure environment all children should have access to someone who can help them to navigate the maze of books and reading in a positive way – logic dictates that this should be a school librarian.

Reading is good for you, and is something that we should all do at every stage in our lives in order to benefit personally. This should start at the cradle with reading aloud and sharing stories, and should move through our lives as pastime that is perceived as enjoyable. Reading is habit forming, and the children of readers read and are more likely to accept books and reading into their lives. We cannot expect our future adults to become readers if the only books they know are those on the reading scheme.

It doesn’t have to be expensive (remember, librarians are there to help you for free), and it doesn’t have to be great works of worthy literature. The evidence shows that all that matters is that people are reading a wide range of fiction and non-fiction in any form, and that they are reading it simply because they want to. No discrimination was made about the type of reading material, or the format – all reading is good reading as long as you are doing it because you have chosen to. We need to throw out the false idea that reading is an elitist or snobby pastime that is only for the idle, and that only “good” books matter – this is simply not true.

We are bombarded with health messages that we should be acting upon, but this report shows that reading for pleasure is the simplest and most enjoyable way to gain a significant number of long-term health benefits.

So stop feeling guilty! When you’re reading you’re not wasting time, you’re working on your long-term health.
The message is simple – pick up a book, and feel better!

Dawn Finch
Vice President CILIP
CWIG Committee
Children’s author and school library consultant.
www.dawnfinch.com
@dawnafinch

Links and the technical stuff…..
The full Literature Review document can be downloaded from the Reading Agency’s website and it contains a full bibliography of all of the research used. Please share and quote the report and use #readingforpleasure to keep the conversation going.

The Reading Agency worked in collaboration with the following organisations: Arts Council England, Association of Senior Children’s and Education Librarians, Book Trust, Chartered Institute of Library and Information Professionals, Education Endowment Foundation, National Literacy Trust, Publishers Association, Scottish Library and Information Council, Society of Authors and the Society of Chief Librarians.
The report was compiled by BOP Consulting with funding from the Peter Sowerby Foundation 

* For the purposes of the report the phrases “reading for pleasure” and “recreational reading” are used interchangeably within the body of the document. We defined this as “non-goal orientated transactions with texts as a way to spend time, and for entertainment.”
The term “reading for empowerment” is (for the purposes of this report) defined as “transactions with texts as a means of self-cultivation and self-development beyond literacy”. For example reading non-fiction material such as craft or self-help books.
Both terms were used to define reading for pleasure and empowerment in all formats and media.

Full link URL – http://readingagency.org.uk/news/media/reading-for-pleasure-builds-empathy-and-improves-wellbeing-research-from-the-reading-agency-finds.html

The image used is licensed CCO public domain but courtesy credit due to bonnybbx, creator on Pixabay. Please always credit creators.

A Primary School Librarian’s List Of 125 Books That A Child Might Want To Read.

these are your kids on books

The publication of yet another list of the “top 100 books” that children “should” read in primary school raised an extensive discussion on social media about the books chosen. Whilst the books on the list are undeniably classics, and books of quality, do they actually represent the kind of books that will nurture a love of reading in children, or is this instead a list of national curriculum and Amazon favourites?

To challenge that list I give you the list of an experienced primary school librarian. These books are the ones that I know have created delight in young readers and have been loved with a passion. You might not agree with all my choices (and some of them are not to my personal tastes) but these have all been loved by REAL CHILDREN who devoured them and wanted more after finishing them. These are not only books that children have enjoyed, but also ones that parents have enjoyed sharing with them. Sharing books aloud is an important way to foster a love of books and reading in a child, and no one is ever too old to hear a story.

The list progresses roughly through developmental stages, but is by no means prescriptive, and it is not in order of preference. “Top books” charts are far too subjective, and the books on this list are all great. If you need more guidance and advice on children’s reading there really is only one person to seek out – a school librarian. These titles are all for primary age children and (with one notable exception in William Grill’s Shackleton) are all fiction titles.

Just for clarification, I don’t believe that any of these books “should” be read by all children, that’s not how a love of reading works. This is list of great books that I know children have loved and, if any of them suit the tastes of children you know, then they too might read them and enjoy them. If they want to. Your list might be different, and I’d love to know what you’d recommend – please add your titles to the comments. I’m sure there are many titles that you feel should be added, so go ahead! Please do add newer books that you know have worked, and please remember to credit all creators of the work, and do post links to their websites where possible. I’ll aim to keep the comments open so that we can keep adding to it and share the list as a resource.

Every one of these books have two things in common: they are beautiful stories, and children love them. All in all enjoyment of reading is the most important thing. It’s all about what children want to read and it should never be about just ticking off a list of books that adults think children “should” read.

Hopefully you will enjoy these books too.

Picture Books (for first word recognition, first reading, and sharing)
1. The Gruffalo by Julia Donaldson and Axel Scheffler
2. Dr Xargle (series) by Jeanne Willis and Tony Ross
3. Farmer Duck by Martin Waddell and Helen Oxenbury
4. The Shirley Hughes Collection
5. Meg and Mog (series) by Helen Nicoll and Jan Pienkowski
6. The Blue Balloon by Mick Inkpen
7. Lost and Found by Oliver Jeffers
8. Elmer (series) by David McKee
9. Rainbow Fish by Marcus Pfister
10. The Snowy Day by Ezra Jack Keats
11. Owl Babies by Martin Waddell and Patrick Benson
12. Smelly Louie by Catherine Rayner
13. Rules of Summer by Shaun Tan
14. This Is Not My Hat by Jon Klassen
15. Each Peach Pear Plum by Janet and Allen Ahlberg
16. Whatever Next? By Jilly Murphy
17. Q Pootle 5 by Nick Butterworth
18. Here Come The Aliens! By Colin McNaughton
19. Beegu by Alexis Deacon
20. Morris the Mankiest Monster by Giles Andrea and Sarah McIntyre
21. No Matter What by Debi Gliori
22. Sand Horse by Michael Foreman
23. Mousehole Cat by Antonia Barber and Nicola Bayley
24. We’re Going On A Bear Hunt by Michael Rosen and Helen Oxenbury
25. Where the Wild Things Are by Maurice Sendak
26. Wolves by Emily Gravett
27. Mouse, Bird, Snake, Wolf by David Almond and Dave McKean
28. Jim’s Lion by Russel Hoban and Alexis Deacon
29. The Whale’s Song by Dyan Sheldon and Gary Blythe
30. Changes by Anthony Browne
31. Use Your Imagination by Nicola O’Byrne
32. The Queen’s Hat by Steve Antony
33. Mr Magnolia by Quentin Blake
34. Fungus the Bogeyman by Raymond Briggs
35. A New Coat For Anna by Harriet Ziefert and Anita Lobel

First Chapter Books (and slightly longer First-Readers)
36. Shackleton by William Grill
37. Monkey in the Stars by Jamila Gavin
38. The Magic Finger by Roald Dahl
39. The Owl Who Was Afraid of the Dark by Jill Tomlinson
40. Oliver and the Seawigs by Philip Reeve and Sarah McIntyre
41. Fortunately the Milk by Neil Gaiman and Chris Riddell
42. Ottoline and the Yellow Cat by Chris Riddell
43. Mr Majieka (series) by Humphrey Carpenter
44. Astrosaurs (series) by Steve Cole
45. How to Write Really Badly by Anne Fine
46. Cartoon Kid by Jeremy Strong
47. My Dad’s a Birdman by David Almond and Polly Dunbar
48. Nelly the Monster Sitter (series) by Kes Gray
49. Dirty Bertie (series) by David Roberts and Alan MacDonald
50. Amazing Grace by Mary Hoffman
51. Necklace of Raindrops by Joan Aiken and Jan Pienkowski
52. Clever Polly and the Stupid Wolf by Catherine Storr
53. Horrid Henry (series) by Francesca Simon
54. Betsey Biggalow (series) by Malorie Blackman
55. Astounding Broccoli Boy by Frank Cottrell Boyce
56. Give Peas a Chance by Morris Gleitzman
57. Cliffhanger by Jacqueline Wilson
58. Joey Pigza Swallowed the Key by Jack Gantos
59. Dinkin Dings (series) by Guy Bass

Moving on….. (longer chapter books and/or stronger themes)
60. Dragons of Crumbling Castle by Terry Pratchett
61. Emily Windsnap (series) by Liz Kessler
62. Varjak Paw by SF Said
63. Coraline by Neil Gaiman
64. Box of Delights by John Masefield
65. Great Ghost Rescue by Eva Ibbotson
66. Mr Stink by David Walliams
67. Charlie and the Chocolate Factory by Roald Dahl
68. Awful End (series) by Philip Ardagh
69. Uncle Montague (series) by Chris Priestley
70. The Indian in the Cupboard by Lynne Reid Banks
71. Dream Master (series) by Theresa Breslin
72. Molly Moon (series) by Georgia Byng
73. Little White Horse by Elizabeth Goudge
74. Wolves of Willoughby Chase by Joan Aiken
75. Charlotte Sometimes by Penelope Farmer
76. Whispers in the Graveyard by Theresa Breslin
77. Charlotte’s Web by E B White
78. Tom’s Midnight Garden by Philippa Pearce
79. The Dark Is Rising (series) by Susan Cooper
80. Chrestomanci (series) by Dianna Wynne Jones
81. Swallows and Amazons series by Arthur Ransome
82. Inkheart by Cornelia Funke
83. The Owl Service by Alan Garner
84. Millions by Frank Cottrell Boyce
85. Cuckoo Song by Frances Hardinge
86. Holes by Louis Sachar
87. Last of the Spirits by Christ Priestley
88. Phantom Tollbooth by Norton Juster
89. Clockwork by Philip Pullman
90. Emil and the Detectives by Erich Kastner
91. A Monster Calls by Patrick Ness

Transition books (stronger themes for transition from primary to secondary school)
92. The Tulip Touch by Anne Fine
93. Noughts and Crosses (series) by Malorie Blackman
94. Mirromask by Neil Gaiman and Dave McKean
95. Alex Rider (series) by Anthony Horowitz
96. Strawgirl by Jackie Kay
97. The Silver Sword by Ian Serraillier
98. Once by Morris Gleitzman
99. Journey to the River Sea by Eva Ibbotson
100. City of the Beasts by Isabel Allende
101. Krabat by Ottfried Preussler
102. The Boy in the Striped Pyjamas by John Boyne
103. Dark Satanic Mills by Marcus and Julian Sedgewick
104. Looking for JJ by Anne Cassidy
105. Book of Dead Days by Marcus Sedgewick
106. Spooks series by Joseph Delaney
107. Wonder by R J Palacio
108. Diary of Anne Frank
109. Tamar by Mal Peet
110. Maus by Art Spiegelman
111. Witch Child by Celia Rees

OH – and you can’t nurture a love of reading without poetry – so the list gets a bit longer with some poetry…
112. Puffin Book of Brilliant Poetry edited by Brian Patten
113. All the Wild Wonders by Wendy Cooling
114. All The Best – selected poems of Roger McGough
115. Quick, Let’s Get Out Of Here! by Michael Rosen
116. Revolting Rhymes by Roald Dahl (illus Quentin Blake)
117. Wriggle and Roar by Julia Donaldson
118. The Complete Nonsense of Edward Lear
119. Give The Ball To The Poet – an anthology of Caribbean poetry
120. Silly Verse for Kids by Spike Milligan
121. Highwayman by Alfred Noyes (illus Charles Keeping)
122. Wicked World! By Benjamin Zephaniah
123. Nightmares by Jack Prelutsky
124. I Had a Little Cat (collected poems) by Charles Causley
125. Casting a Spell (an anthology) by Joan Aiken, Wendy Cope and others

Note – almost all of the authors on this list have a whole body of extraordinary work in their catalogues, and many of these books have sequels that are equally worth reading. Please do take the time to look up the other work of these authors.
Extra footnote– I mean no offence to any of my writer friends if I’ve left off your work! If this was a list of all of the books that I love for primary age children, I would need to buy more webspace as it would be hundreds of pages long.

Dawn Finch is a school librarian and children’s author, and is currently the Vice President of the Chartered Institute of Library and Information Professionals (CILIP)

What value……? Creativity

Living in a country that increasingly values only a monetary return on investment (ROI), it seems timely to take a look at some of the more apparently esoteric aspects of our lives, and question what value they add to society.

First up – Creativity

It is a fact that many of the teachers that I work with tell me of the diminishing amount of time spent on the creative arts in their schools. Increasingly I find myself advising teachers how (and why) they should be incorporating the arts and creativity into their curriculum.
But why bother? I have been asked this question countless times; “my child is not going to be a painter or a poet, so why are we wasting time with this stuff?”

Okay, so let’s answer that one first.
Creativity is the key to developing imaginative thought processes, and imaginative thought processes are the key to problem solving. As a society we desperately need people who are imaginative problem solvers.

Well, that was simple! What, you want more?

Right, let’s have some identifiable scenarios and look at how this fits into all of our lives and imagine (because we have well developed imaginations and so we are able to do this) a life without creative and imaginative problem solvers.

  • I want a carpet fitted but my room is an awkward shape. My carpet fitter is great at maths and so has no problem working out the square footage, but he lacks a creative imagination and so he can’t work out how to work his way around the room economically. He loses money, and so do I.
  • My car has broken down, but all of the diagnostics show that there is nothing wrong with it. My mechanic has all the tools for the job and is well trained, but he lacks a creative imagination and so he is unable to imagine any unusual scenarios that might be causing the problem. I lose money (and a car) and his business suffers.
  • I need an operation. My surgeon is well trained and has the most amazing qualifications, but she lacks a creative imagination. When I’m opened up she checks all of the medical equipment, and the text books, but she can’t see anything wrong that fits what she has learnt. She does not have the imagination to think of what might be possible, and is only able to see what is actually there. I die.

Personally I want all of the people around me to have a creative imagination because it makes for a safer, wiser and more multi-faceted society. I desire creativity and imagination in every person that I work with or hire; plumbers, electricians, cab drivers, bus drivers, cleaners, lawyers, doctors, nurses, police officers, politicians, bankers, hairdressers, teachers… In fact there is not a single occupation that would not benefit from having staff who are creative and imaginative.

In our private lives we are able to achieve greater levels of self-improvement if we are creative problem solvers. Students who are imaginative problem solvers do better with their studies and achieve higher grades. This is turn makes for a better educated society and one that is more caring and self-supporting, and one that is better equipped at problem solving.

But, to convince those sceptics out there, we are going to need some more evidence of that.

 Big businesses know that creativity is vital to success within a corporation. An IBM survey of over 1,500 CEOs from 60 countries found that they overwhelmingly valued creativity in their staff. Frank Kern, senior vice president of IBM Global Business Services said;

“Coming out of the worst economic downturn in our professional lifetimes — and facing a new normal that is distinctly different — it is remarkable that CEOs identify creativity as the number one leadership competency of the successful enterprise of the future.”

The OECD (Organization for Economic Cooperation and Development) prepared a report from their 17 nations about business practices and staff development. In the report they declared that “creativity and innovation” were key “21st Century competencies” They stressed that staff could not develop if they lacked creativity.

An article from Newsweek (link below) covered a number of case studies and drew on the educational creativity markers referred to and developed by E Paul Torrance. The article drew attention to the global importance of investing in the development of creative societies.
“All around us are matters of national and international importance that are crying out for creative solutions, from saving the Gulf of Mexico to bringing peace to Afghanistan to delivering health care. Such solutions emerge from a healthy marketplace of ideas, sustained by a populace constantly contributing original ideas and receptive to the ideas of others.”

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This conversation starts with the child and so let’s consider the importance of creativity for the young. It is clear that we need to have creativity at the very heart of our curriculum to ensure that it takes its place at the heart of our society. It is not just about discreet teaching, creativity needs to lay like a blanket over every subject area. Teach history using paintings and poetry. Teach science and innovation by using creative writing and imaginative tasks. Teach physical fitness using dance and more physical forms of expression. Add the creative arts into social studies, literacy, languages and study skills. All subjects benefit from a broader approach, and the pupils studying them will benefit from greater creativity and will develop the ability to solve problems imaginatively.This makes for adults with a higher sense of wellbeing.

There are excellent reasons for having a cross-curricular approach to the teaching of creativity, however it is still being removed from the timetable. This is largely due to a misplaced belief that Ofsted and the Government want schools to entirely focus on academic achievement. This is simply not the case and the Ofsted inspection framework tells a very different story.
In 2012, Ofsted Director of Education, Jean Humphrys said; “Children’s ability to appreciate and interpret what they observe, communicate what they think and feel, or make what they imagine and invent, is influenced by the quality of their art, craft and design education.”

In 2014 the Department of Culture, Media and Sport commissioned a report to look into the impact of cultural engagement. Being a Government department they like to put a monetary value on things, and one of their key findings stated: “Arts engagement was found to be associated with higher wellbeing. This is valued at £1,084 per person per year, or £90 per person per month.”  

The report finds that: “These findings suggest that participation in culture and sport could lead to increased employment in the economy as there are associations between culture, sport and job satisfaction”

They also found that engagement with the arts results in a significant increase in the likelihood of young people going on to further or higher education. Despite this evidence headteachers and senior leadership teams genuinely believe that they will not achieve the grade of Outstanding if they have a curriculum that shows a leaning towards creativity and the arts. However the inspection reports that I see tell a different story.

One of the schools that I am connected to recently received a glowing inspection report and achieved the enviable grade of “Outstanding in all areas.” The headteacher at this school is a poet and a writer and has encouraged his staff to work with an incredibly creative curriculum. Every time I visit he is working with the children on a new art project to embed all that they are learning in other subjects. There is a fabulous dinosaur in the library (made to support their prehistory studies) and the dining hall is hung with paper mache fruit (made by children during their science work about healthy eating.) Every class is decorated with the creative work of pupils, and there is a strong ethos of drama, dance, music and art that runs throughout the whole curriculum.

In the inspection report for this school, Ofsted say this about the curriculum: “All of the themes create plentiful opportunities for pupils to practise their reading, writing and mathematical skills, engage in creative musical and art-based activities and debate about issues of morality.”

“Pupils learn in lively, stimulating classrooms and are excited about their learning. Those who spoke to inspectors said that their new creative curriculum was both interesting and challenging.”

But for me the very best reason for developing a school ethos based on imagination and creativity is that it makes for happier children, and happier children make better learners. This is my favourite part of this Outstanding report as it says everything you need to know about the importance of a school that understands the value of creativity.

“The behaviour of pupils is outstanding. The school’s over-riding supportive ethos forms the basis of a friendly atmosphere, in which relationships thrive. Pupils’ attendance is high, and they love coming to school to learn with their friends.”

This is the true return on investment in creativity and the arts; a better society.

Dawn Finch

Children’s author and literacy consultant

Vice President CILIP

CWIG committee member

Links

Shakespeare Week and the Shakespeare Birthplace Trust

This week I’m celebrating the work of Pupil Library Assistants, and also Shakespeare Week.

I am a member of the judging panel for the Pupil Library Assistant of the Year Award. The competition for the prize was very fierce and, sadly, not everyone could make it to the final seven. However, these pupils clearly all had a great passion for books and reading and took this beyond the walls of their schools. Almost all of the pupils not only worked in their school libraries, but they had also had the opportunity to take part in other schemes connected to books and literacy. One of the longlist nominees, Miranda, described a little about her volunteer work at the Shakespeare Birthplace Trust.

I was so intrigued by this that I invited her to write a blog post in more detail so that she could explain what Shakespeare and the Birthplace Trust means to her and other pupils.  This is published here to take a closer look at the Birthplace Trust, and to encourage schools to sign up for Shakespeare Week. This runs from 16 -22 March 2015 and encourages everyone to take another look at the world’s most famous writer. So from a writer of the past…to a writer of the future!

My guest blogger is…..Miranda K. Gleaves – Alcester Grammar School

Shakespeare Week: the wonderful world of the Shakespeare Birthplace Trust

I’m lucky that I’m at a school where being a Pupil Librarian isn’t regarded as a bit bizarre.  Everyone accepts my love of books (I was the first ever Year 7 to get the school’s Gold Reading Challenge Award) and, definitely, my admiration of the playwright, William Shakespeare.

I was seven when I saw my first Shakespeare play (The Comedy of Errors) at the Royal Shakespeare Theatre in Stratford-upon-Avon. My mum explained that I wouldn’t understand every word of it, but that it wouldn’t matter.  She was right – and had to shush me as I was laughing so loudly at the almost-pantomime on stage. No-one should think Shakespeare is incomprehensible, scary or “not for them”.

Thanks to our School Librarian, Mrs Beeson, I was invited, with the other Pupil Library Assistants, on a behind-the-scenes tour of the Shakespeare Birthplace archives and instantly felt that it was the most amazing place.

Since then, I have completed a week of formal Work Experience with the SBT and two weeks with them as a volunteer.  I’ve already arranged to go back!

I’ve helped with conservation work in the archives and at the Shakespeare Houses (having also volunteered with the National Trust for four years, my conservation cleaning experience came in very handy).  I learned how to use the SBT’s unique library system to carry out research, and this enabled me to create a display for the Public Reading Room.  I should also say that the SBT archives are vast – and aren’t just about Shakespeare.  They have masses of information on the local area and my display was on the arrival of Belgian refugees in Stratford at the start of WWI.

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My display.

I’m looking very carefully at the Wolf Hall adaptation on television at the moment, having spent time as a costumed interpreter at Mary Arden’s Farm, one of the Shakespeare Houses. Here, I dressed and behaved as a Tudor, helping to prepare authentic meals to eat in front of the public and discovering the customs of the time (for example, napkins are draped over the left shoulder, those wearing red are ranked more highly than those in blue, and all meals are eaten only with your personal spoon). So far, it looks as though Mark Rylance and his colleagues have got it about right.

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While immersed in Tudor life and language it was fascinating to see at first hand just how engaged visiting school children – also in SBT Tudor costumes – were by the whole experience and how much they learned from it.

I think that Shakespeare Week is a fantastic initiative, and I only wish that I could have participated back when I was at primary school. If I could say one thing to all the pupils and teachers involved, it would have to be “don’t be scared of Shakespeare – he tells great stories”!

With thanks to Miranda Gleaves and her librarian – Louise Beeson – from Alcester Grammar School

You can find out a lot more about the Shakespeare Birthplace Trust using this link.

Take part in Shakespeare Week too! Follow the link for more information and how to join in.

The winner of the 2015 Pupil Library Assistant Award will be announced by 4pm on Thursday 12th March.

Can they dig it?

My guest post this month is from archaeologist and researcher, Dr Tess Machling. Tess has not only worked on many excavations, but has done some inspiring work with young children bringing the past to life through archaeology.

In this wonderful article she shows us how to bring archaeology to life in the primary classroom.

Finding Their Voice

Ask any archaeologist when they first got interested in archaeology and most will immediately become misty eyed and regale you with a tale of their first garden find, the place they visited that made them say ‘wow’ or that odd museum artefact that they returned to time and time again as a youngster. We all have a favourite memory – mine is poking about in the veggie patch at the bottom of our garden for bits of pottery and old glass. Mostly we will tell you about how our favourite find felt in our hands, what it looked like, where our favourite place was. Not many will immediately mention books.

Archaeology (as well as being harder to spell) is unlike its sister discipline history and is all about stuff and things. Dirt and toil. Forget tiny paintbrushes and painstaking care: it is much more hands on than that. It is not about words, the written page, the beauty of language, etc, although of course, like any discipline, its means of conveying itself to the world is often via the written word.

However, for me, the beauty of archaeology is that the whole discipline begins with what we find below our feet: the weightiest archaeological thesis and the most impenetrable work of archaeological theory all started life as things in the ground. And the long and the short of it is that anyone can find something: anyone can dig a hole.

I think this is why the interest of so many archaeologists starts in their youth: when you are young it is natural to scrabble around in the dirt. Children have unjaded magpie eyes which see the world as brand new, constantly seeking out anything shiny, smooth, patterned, or just plain ordinary, as a keepsake. If it can be discovered in a muddy patch of ground, then so much the better. This, in microcosm, is the world of the archaeologist!

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Also, at this stage in their lives children are untroubled by the correct terminology for something, they can just like how it feels, what it looks like or how heavy it is. They will collect things according to what fascinates them, with no reference to adult values of worth or importance. They don’t need to quantify it, describe it or validate it. But I can guarantee they will want to know more about it. What it is and where it came from. How old it is and how it got where it is now. And this love of things dug up is in itself a way into literacy and the spoken word.

In 2014, Prehistory was added to the English National Curriculum and, to help with the topic, I carried out a week long archaeological dig with sixty 7 to 9 year olds at my daughter’s primary school in Hertfordshire.  After all, with a mind boggling one million years of human history to cover in just 11 weeks, we thought it might be an idea to give them a taster of the basics first!

To understand archaeological time you really have to understand -our second long word of the day –  ‘stratigraphy’, which is the order and position of layers in  the ground. The best way for very small children to grasp this concept is to go and dig: generally, the lower you go, the older the things you find are. At our school, we started on the surface with 21st century Lego bricks and plastic pen lids and as we got lower came up with early 20th century marbles and pen nibs. Within a day or so they had got the idea to the point that, when someone said they might find dinosaur bones, one 7 year old girl piped up with the blistering retort ‘No, you won’t! They will be much, MUCH, further down as they are very old’.

Although the concept of almost one million years was never going to be easy for a young child (let’s face it, how many adults can actually relate to time periods on that scale…I’m not sure I can) they had the idea of depth equals old.

They also then grasped the idea that each period of ‘old’ had a different name: if ‘archaeologist’ and ‘stratigraphy’ were  big enough words, then ‘Palaeolithic’, ‘Mesolithic’ and ‘Neolithic’ were going to take a bit of doing. But, by relating them to technology – these were all ‘lithic’ or ‘stone’ ages which were followed by the ‘Bronze’ age and then the ‘Iron’ age – they all started to use the terms frequently and, what was more amazing, accurately!

In addition, they desperately wanted to know about what they had found with each child identifying strongly with whichever artefact they had discovered. They all wanted to know what their find was made of and how old it was. They got online and typed in search terms and they looked things up in –specialist, I should add- archaeology books I had brought in. All this from children who had often shown no interest in the written word. The children added written labels and descriptions to these finds as they created their class museum: not once did a child have to be told twice what their find was and each eagerly showed their peers and parents which find was ‘theirs’.

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Some of our “finds”

The aspect that stood out most strongly to me (I am a volunteer reader at the school and know the children well) was how much the children who were not traditionally ‘academic’ related to the topic. The disengagement so often seen in children with little cultural capital was replaced by a newly unleashed knowledge and a feeling of empowerment: an ability to tell their peers exactly what they had found and a pride in their achievement. Words that would baffle the average adult tripped lightly off the tongues of children who struggled with CVC words on the page. Some four months on, little bags of finds, sometimes also contained in home-made and labelled egg-box museums, still arrive at school for me to examine.

Their aspirations also changed: several now decided that they would like to be archaeologists when they grew up with a few deciding that they wanted to be a Dr of Archaeology, ‘…like Dr Tess’. During a visit to Stonehenge, one little lad stood gazing absentmindedly at the stones and recited his new title over and over in a whisper ‘Dr. Hussein, Dr Hussein, Dr Hussein. I’m going to be Dr Hussein’.

For that one moment alone it was all worthwhile…..

Article written by Dr Tess Machling

Archaeologist and researcher