Thinking Space Tools

No. of participants: 5 – 30

Age of participants: Suitable for any age

Preparation time: 10 minutes for a basic enquiry. Several hours for a large scale site-specific enquiry or enquiry walk.

Delivery time: 10 minutes – 2 hours

Materials: A source of stimulus e.g. Music, article, story

TAKING ENQUIRY FURTHER

WHAT IS IT?

A community of enquiry approach doesn’t begin and end sitting in a circle. Once a group of learners begin to feel comfortable asking philosophical questions, forming hypotheses, making distinctions, and revising opinions, there is a lot more you can do to develop this practice.

This tool lays out how enquiries can take place beyond the classroom, on the move, in new places, on school trips or even in the dark!

HOW DOES IT WORK?

In a typical enquiry the focus of the group is on the chosen stimulus such as a painting, a video clip or a poem. To take an enquiry further you may want to think about how the environment in which the dialogue takes place impacts upon the participants’ thinking and the quality of their dialogue.

Site Specific Enquiries.

A session on space, time and infinity will take on new resonance in an observatory, planetarium or space centre. An enquiry on issues from philosophy of art such as beauty, value or authenticity can be enriched if it happens at an art gallery. Similarly a dialogue about naturalness or environmental issues could happen in a nearby park, field or in woodland.

Use elements of the environment to tease out issues. For example, in an art gallery, learners can each choose a sculpture or painting which best represents their concept of beauty.

During a session like this time can be devoted at the very end to a reflective discussion on how the environment affected the dialogue.

RECIPE

YOUR NOTES...

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HOW DOES IT WORK? (cont.)Enquiry Journeys

Walks, journeys on buses, trains or treasure hunts can all be used to embody the intellectual journey of an enquiry.

You might set up a series of questions or puzzles around the school grounds as though you were setting up an orienteering course.

A surprise trip or outing could begin with philosophical questions on the bus.

If you’d like to use one of our ‘off the shelf’ enquiry adventures please get in touch at the address below.

This can be a time consuming activity to plan but once you devise a good scenario it can be used and improved year on year.

For an enquiry journey closer to home, why not lead students on a blindfolded walk or have an enquiry in the dark?

Accessible book on Philosophical Thought Experiments - ‘The Pig that Wants to be Eaten’ by Julian Baggini.

‘Can a Robot be Human?’ By Peter Cave – another excellent book of philosophical puzzles.

See ‘Community of Enquiry’ Tool.

TIPS

THINKING SPACEFlat 2, 46 Sale Hill

BroomhillSheffield S10 5BX

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Materials: A source of stimulus e.g. Mu-sic, article, story

DRAMATIC DEVICES

WHAT IS IT?

Theatre conventions such as Tableaux (or freeze frame), Thought Tracking, Flash Back / Flash Forward, Role Play, Narration, Soundscape, Forum Theatre, Mime, and Montage are all theatrical devices that have wider applications across the curriculum for exploring concepts, issues and individual perspectives.

There are many excellent books and web resources which offer guidance on how to implement these techniques in the classroom (see ‘Find out More’ section). This tool suggests possible applications of these strategies for non-drama practitioners.

HOW DOES IT WORK?

Maths: Try using TABLEAUX as a tool to explore abstract concepts such as infinity, multiplication or number (see ‘Concept Building’ Tool).

Religious Studies: You might use THOUGHT TRACKING in conjunction with TABLEAUX to tease out the personal views of different believers.

Humanities: In history lessons FLASH BACK / FLASH FORWARD can help students sequence events and reflect on causes and consequences.

Science: ROLE PLAY can be used in science to explore the social, political and ethical dimensions of issues such as animal experimentation, data protection, technological advancements and research on human participants.

RECIPE



Preparation time: 5 – 10 minutes thinking time.


Materials: These techniques can be used without any additional materials, but if you like, you can introduce elements of costume and prop.

YOUR NOTES...

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HOW DOES IT WORK? (cont.)Enquiry Journeys

Languages: NARRATION can be used in conjunction with ROLE PLAY in languages to translate or explore role play exchanges.

Art: SOUNDSCAPE can be used in art to explore the mood and meaning of visual art in non verbal ways.

PHSCE: FORUM THEATRE can empower learners exploring moral dilemmas or personal social and political issues.

PE: MIME can be used to explore movement and technique in PE.

Technology: MONTAGE can be used to explore and communicate the various elements of a design brief.

‘Learning to Teach Drama’ 11-18 By Andy Kempe

‘Games for Actors and Non Actors’ By Augusto Boal

Drama with Children (Resource Books for Teachers) By Sarah Philips

Role Play (Resource Books for Teachers) By Gillian Porter Ladousse

See ‘Concept Building’ Tool.




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PARADOXES AND PUZZLES

WHAT IS IT?

Getting stuck is an essential educational experience that builds intellectual resilience and resourcefulness . But getting stuck can be frustrating; so frustrating that many learners will inevitably turn to their teacher to supply all the answers.

Paradoxes and puzzles present an opportunity for learners and teachers to enjoy getting stuck. Some of the greatest minds have grappled with puzzles such as Zeno’s Arrow or the Euthyphro dilemma without a teacher to ‘give them the right answer’.

Paradoxes and puzzles are a particularly useful educational resource precisely because there is often no right answer; two sides of an argument might equally present themselves.

HOW DOES IT WORK?

You can present a puzzle or paradox as simply or creatively as you like. You could let students chose from a bank of paradox cards; or even present the paradox as a story or dramatization. (See ‘Enquiry in Role’ Tool.)

If you have two puzzles that push the group in different directions then perhaps present them to separate halves of the group before bringing them back together for discussion. (See ‘Community of Enquiry’ Tool.)

During your reflection encourage learners to share the strategies they used to cope with being stuck. Did they ask further questions; clarify terms; draw diagrams; look at the puzzle from more than one point of view? Etc.

RECIPE



Preparation time: 10 minutes to choose the puzzle, longer if creating a dramatisation of it.

Delivery time: 10 minutes – 1 hour

Materials: A copy of the puzzle or paradox.

Try using puzzles or paradoxes as quick lesson starters.

If the group all seem to agree then ask them what someone who disagreed with them might say.

For those who have a strong intuition about a puzzle it’s important for them to be able to explain why they think what they do. This improves reasoning, and speaking and listening skills amongst the whole group.

EXAMPLESExamples of Puzzles and ParadoxesSorites Paradox

If I subtract one grain from a heap of a million grains of rice, I’ll still have a heap. The subtraction of one grain will never make the difference between a heap and a few grains. Yet if I continue to remove one grain at a time I will end up without a heap. How can this be?

Buridan’s Ass The perfectly rational ass stands between two bales of hay. Each bale is equally large and an equal distance away. The rational ass starves to death because he lacks a reason to choose one hay bale over another. How does a reasoned decision produce an irrational outcome?

Euthyphro DilemmaDoes God command the good because it is good, or is it good because it is commanded by God?

Liar Paradox‘This sentence is False’. If this sentence is true, then is it not false? If it’s false, then is it not true?

The Paradox of FictionSince you know she is a fictional character – why cry at the death of Anna Karenina or any tragic fictional character?

‘The Pig that Wants to be Eaten’ by Julian Baggini

‘Can a Robot be Human?’ by Peter Cave

‘This Sentence is False’ by Peter Cave

‘What’s Wrong with Eating People?’ By Peter Cave

See ‘Community of Enquiry’ Tool




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THOUGHT EXPERIMENTS

WHAT IS IT?

A Thought Experiment is a device used by philosophers to encourage thinkers to explore a line of thought. Because philosophical questions can’t be answered by asking an expert or looking something up, we can’t devise a scientific experiment to help us find the answer. But like scientific experiments, thought experiments create scenarios where the distracting variables of real life situations are controlled. These fictional scenarios leave us free to focus on interesting aspects of a puzzle or problem.

Thought experiments are essentially stories; stories that explore our intuitions in an interesting way. They are a useful way to promote a discussion amongst learners because they often evoke strong feelings either for or against the topic they are about.

HOW DOES IT WORK?You can present a thought experiment as simply or creatively as you like. You could let students choose from a bank of thought experiment cards; you could present the thought experiment as a story or dramatization (see ‘Enquiry in Role’ Tool). If you have two thought experiments that push the group in different directions then perhaps present them to separate halves of the group before bringing them back together for discussion (see ‘Community of Enquiry’ Tool).

RECIPE



Preparation time: 10 minutes to source the thought experiment.


Materials: A circle of chairs, the thought experiment.

A useful way to ensure your comments build on what has already been said is to prefix your contribution with: ‘I agree or disagree because…’

If the discussion is losing focus, ask for a volunteer to summarise key points so far.

Give counter-examples to challenge learners’ responses. Many counter-examples can be found in Baggini’s book.

EXAMPLESThe Experience Machine by Robert Nozick

Imagine there existed a machine which could stimulate your brain in such a way as to produce pleasurable experiences. You’d believe these synthetic experience to be real, and by experiencing them you’d be free from anxiety, dissatisfaction and pain. Would you plug in?

Jim and the Indians by Bernard Williams

Exploring in remote parts you stumble across a group of villagers held hostage by a man with a gun. The man tells you that he was planning to execute the villagers as punishment for a crime. But as a gesture of goodwill he offers you the ‘honour’ of killing one Indian in return for the lives of the others. What should you do?

The Ship of Theseus attributed to Plutarch

On his long voyage at sea Theseus’ Ship undergoes many repairs until every part of the ship Theseus sailed out on has been replaced. When at last Theseus sails back into the port the towns people say “Here is ship of Theseus.” Are they right? Is it the same ship?

While Theseus was at sea all the original parts of his ship, once replaced, are kept and stored. When Theseus returns he asks his master carpenters to build a ship out of all the old pieces. When the town’s people see two ships waiting in the harbour they are astonished! “Which is the Ship of Theseus?” they ask.

‘The Pig that Wants to be Eaten’ by Julian Baggini


‘What’s Wrong with Eating People?’ by Peter Cave

See ‘Taking Enquiry Further’ Tool.

See ‘Thinking In Role’ Tool.




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PROVOCATION

WHAT IS IT?

An element of shock and surprise in a classroom, if managed well, can inject energy and provide a memorable leaning experience and a shared starting point for discussion.

A provocation is an unexpected event planned by the facilitator to surprise the learners. The provocation is immediately followed by structured reflection.

HOW DOES IT WORK?Planning the provocation will involve making a judgement about the kind of experience your audience can cope with. Learners often buy into unexpected experiences to a greater extent than you’d expect. For example, a provocation involving an intruder, an injury or an argument might shock or upset learners if you let it go on too long. Some of the most successful provocations move from the plausible to the surreal fairly quickly, allowing the class to move from surprise to amusement without feeling manipulated.

Ideally a provocation should occur when learners are engaged in a set task. Sometimes the task can be linked to the provocation.

RECIPE


Age of participants: 12 +

Preparation time: : 5 - 20 minutes thinking time

Delivery time: 10 - 30 minutes

Materials: Using sound, light, costume and / or prop as appropriate

Give the students a chance to recover from the shock or surprise. They may want to talk to each other about it or to laugh. Let them absorb it first before a more structured discussion.

Plan the reflective discussion carefully; be clear about what you want them to get out of it especially as the initial surprise and excitement might throw you a bit.

If it’s possible, film the provocation. The footage can be used later to help students reflect on their reactions. (See ‘Using Film’ Tool.)

EXAMPLESA lesson on health and safety in Design Technology could begin with a teacher injuring themselves on equipment.

A lesson on eye witness testimony in Psychology could be interrupted by an argument in the playground which students only half see through the classroom window.

An English lesson could be interrupted by a teacher in role as a character from the book they are reading.

A provocation in a Science lesson could involve an unexpected outcome from an experiment, like an explosion.

In History the class might meet a historical figure who tells them something they weren’t expecting.

See ‘Using Film’ Tool

See ‘Activity-Based Discussion’ Tool




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TIPS YOUR NOTES...

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LETTER WRITING

WHAT IS IT?

Letter writing is a personal, reflective activity which will be a new experience for some learners.

This tool explores some of the ways you might use letter writing with groups and with individuals.

HOW DOES IT WORK?A session can begin or end with letter writing. The activity can be used to promote consolidation of learning, reflection on learning or empathy and insight around a particular topic.

Cathartic Letter Writing:

Ask learners to write a letter to their future self or past self. This kind of letter might be private so you might want to ensure that the letters are sealed and taken home rather than shared.

Students could write to a famous inventor, a member of parliament or a character from a film. These letters could be shared between small groups and form the basis of further exploratory work.

You might want to use letter writing to explore conflict and divisions within a group. Each party could exchange letters which discuss their grievances and explore how they’d like to move forward. You might want to end a session by shredding or burning these letters to signify the end of the disagreement.

Learners could write letters ‘in role’ as a particular character.

RECIPE

No. of participants: 1+

Age of participants: 5+

Preparation time: 5 - 20 minutes


Materials: Pens, notepaper, envelopes

YOUR NOTES...

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Try giving participants note paper or note cards and envelopes to use rather than workbooks or file paper.

Students can, of course, write emails to each other, students from other schools or a fictional character instead of sending letters.

HOW DOES IT WORK? (cont.)Letters as Stimulus

You could ask students to reply to a genuine historical letter or a letter from literature or film.

You could write the class (or each individual student) as a fictional character. These letters could be used to prepare students for an upcoming event like a school trip, a science experiment or an enquiry in role. (See ‘Enquiry in Role’ and ‘Provocation’ Tool)

A younger class could receive a (fictional) letter from the same character each week which could be discussed during circle time.

If you’re writing fictional letters to your class, you may want to introduce puzzles, problems or tasks for them to investigate. You could even set up a meeting with the mysterious letter-writer at the end of the project.

Correspondence

Students from classes exploring the same topic could write to one another.

Letter writing among students could support a peer mentoring scheme or aid the transition from Primary to Secondary school.

Students could write to pupils from different social or cultural backgrounds, at home or abroad.

See ‘Enquiry in Role’ Tool

See ‘Taking Enquiry Further’ Tool

See ‘ Provocation’ Tool




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TIPS






COLLABORATIVE CREATIVITY

WHAT IS IT?

Many opportunities for learners to be creative involve working independently, but group work is fertile ground for creative activity.

The new ideas, perspectives and values of a group can push individuals to think deeply and communicate more effectively. This tool explores several ways to explore ideas using the creative output of learners working together.

HOW DOES IT WORK?For each activity, the communication within the group is through the media; participants should take part in the activity without speaking. A reflection after the activity provides the opportunity to discuss what they’ve made.

Collaborative Poetry Writing

Each member of the group takes it in turn to write one line of a poem entitled: ‘Imprisonment’ (or whatever concept or theme you’re exploring.) Once they have written a draft they can take it in turns to edit the poem. When the activity as over, they should share their edited version with the rest of the group.

Collaborative Sculpture

Each member of the group adds to a sculpture. The sculpture could be a response to an issue, emotion or concept you’d like them to explore. All participants can work on the sculpture simultaneously. They might want to use an immediate medium like rubbish, empty boxes, Playdough or Lego. Present the finished sculpture at the end of the activity and invite the wider group to ask the sculptors questions or comment on the group’s theme.

RECIPE

No. of participants: 5 – 30 (maximum 5 per subgroup)




Materials: Will depend on the activity

YOUR NOTES...

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Try providing each group with the same brief but a different medium, or the same medium but a different brief.

As the facilitator try and give as little guidance to their activity as possible. After the concept / issue / question has been explored everyone can discuss as a group how well they think it has been represented.

HOW DOES IT WORK? (cont.)Collaborative Drawing

In pairs, students can try drawing using the same pen. Start them off with simple shapes such as ‘house’ or ‘flower’. Later the pairs can move on to more challenging concepts like ‘love’ or ‘family’. Alternatively this activity can involve a long role of wallpaper and a whole class drawing at the same time around the same theme.

Collaborative Tableaux

Build a tableaux around a question or concept. One performer assumes a position at a time while the other performers try to make sense of the scene as it is builds, adding themselves to the picture in a pose that makes sense. Perform the finished tableaux to the rest of the group and invite them to comment on what it depicts and what they think it represents. (See ‘Dramatic Devices’ Tool)

Collaborative Music-Making

Using rhythm to explore an emotion, an event or an issue, begin with one percussionist and invite members of the group to improvise accompaniment, layering the sounds until everyone is making a contribution. Perform the final piece and inviter the wider group to identify the central theme.

See ‘Concept Building’ Tool

See ‘Dramatic Devices’ Tool




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TIPS






GAMES TO RE-ENERGISE

WHAT IS IT?

Games get oxygen pumping around bodies and brains. They promote team-work and encourage group cohesion. They bring the focus and attention of everyone into the room. They act as a marker to signify the session has begun. They can be useful for everyone to introduce themselves to one another and they can reinvigorate students who are flagging.

Make up your own rules and adapt them to suit your group...here are just a few to get you started.

GAMESZip-Zap-Boing!

Everyone stands in a circle. Miming a ray-gun you send ‘Zips’ around the circle to your right, ‘Zap’ changes direction and can be sent anywhere in the circle and ‘Boing!’ [putting your hands in the air] deflects the ‘Zip’ back to the person who sent it to you. If anyone makes a mistake they are out.

Stuck In The Mud

A game of ‘Tag’ except that once someone is tagged by the ‘Tagger’ they are stuck in the mud. They freeze where they are with their legs shoulder width apart. The only way they can be freed is by someone crawling underneath their legs. The aim is for the ‘Tagger’ to get the whole room stuck in the mud.

I Am An Egg

There are three stages of evolution: egg [cupped hands]; bird [hands held together by thumbs flapping like a birds wings]; omnipresent being [hands in a prayer]. In pairs everyone must duel with one-another to decide whether or not they move up or down the evolutionary chain.

RECIPE

No. of participants: Any


Preparation time: None

Delivery time: 5 minutes each

Materials: None

If the students become over-excited use a focussing game before moving on to the next activity.

GAMES (cont.)A duel consists of putting your hands behind your back and producing either 0 – 5 fingers. The first person to add up the combined total of fingers and shout out the answer wins. A draw means you both stay on the evolutionary level that you are already at. If you win you evolve a level. If you lose you devolve a level. Omnipresent being is the highest level; egg is the lowest level. Keep playing until everyone has duelled with everyone else and then note the number of fully evolved omnipresent beings at the end.

Moose, Moose, Moose

Before you begin everyone is in a circle and takes it in turns to say what animal they are. They repeat their animal name three times as you move around the circle ‘Elephant, elephant, elephant’; ‘Bee, bee, bee’ etc. When the game begins someone stands in the middle of the circle. They must say someone else’s animal name three times very quickly. The person who’s animal-name gets called out must say their animal name once – but they must try and say it before the person in the middle has finished saying the name three times. E.g. ‘Elephant, elephant, ele...’ ‘Elephant!’ ‘...phant’. If they manage this the person stays in the middle. If they do not then they must take their place in the centre.

Walking to Running

Everyone starts off walking very slowly around the room. They must not bump into anyone else and must not walk in a circle, they can move anywhere. As the facilitator you then encourage them to speed up their walk until they are briskly bustling all over the room. You increase their speed until they are all running around the room. If anyone bumps into anyone else they are out and must sit by the wall.

Opposites Game

You continue with the Walking to Running game but this time everyone has to do the opposite of what you ask. When you shout ‘GO’ they must all stop, when you shout ‘SLOWER’ they get faster etc.

Make it harder by adding more actions like claps, jumps, whoops etc.

See ‘Games To Focus’ Tool


See ‘Thinking In Role’ Tool




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USING FILM

WHAT IS IT?

Using film in the classroom is a simple way to reinforce reflection amongst students. It can also be a useful analytical tool for teachers to reflect on teaching and learning.

The most straightforward way to use film in the classroom is to show footage to the participants of themselves engaged in an activity or a discussion. Techniques such as Goldfish Bowl and Thought Tracking can then be applied to the footage to explore what was going on in greater detail.

HOW DOES IT WORK?Feel Good Clips

A great way to kick start the session is to show the participants a few clips of team work and of funny moments. It’ll remind them of the activity/day/session that you’re going to be analysing and it’ll promote a sense of togetherness in the group.

You Missed A Bit

If the session that you’re analysing involved an activity or a story or thought experiment to start an enquiry, then before you begin analysing the footage ask the group to tell the story of the day or the stimulus. One person starts at the beginning and every time someone thinks they’ve missed a bit they interrupt with ‘You missed a bit...’ and take up the telling of the story including the extra piece of information. This builds up a detailed picture of the groups’ collective memory of the day / session / stimulus.

Thought Tracking

Show the students the clips you have picked out of particularly significant or interesting moments from the session/day. Freeze the clip at different moments and ask them to explore what the people in the clip were thinking at that moment.

RECIPE



Preparation time: Time to review the footage to pick out the best clips


Materials: Footage of learners taking part in an interesting activity / holding an enquiry

YOUR NOTES...

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Make sure you have charged batteries and enough film stock for your camera while filming!

Don’t worry too much about wonky shots and moments of blurred focus; even poor quality film can be used to aid reflection.

Do try and show a few feel good clips before the reflection session begins in earnest; it helps the students get over the initial squeamishness of seeing themselves on film.

HOW DOES IT WORK? (cont.)Encourage Empathy

An easy way to promote higher order thinking skills is to show the students a clip and then ask them to reflect on what the other people in the clip would be feeling, thinking and learning at that moment in time. This deeper level of reflection not only explores what other people feel and think but also draws out what different learning would be taking place by people as they receive new information.

Great Learning

If you can pick out some ‘Eureka! Moments’ or moments when learning could have happened but didn’t, then ask the students to discuss what learning was happening and why it happened. What triggered it? Who learned what? Was it deep learning or shallow learning? What else could they have learned? How can we encourage more moments like that?

Goldfish Bowl

Ask the students to Goldfish Bowl their own enquiry. By concentrating on one or two elements each they can then analyse the discussion as a group in a way that it is impossible to do when taking part in a discussion. This can then be used to build up a picture of what makes a rich discussion and their learning can then be applied when they take part in future enquiries. (See ‘Goldfish Bowl’ Tool).






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GAMES TO FOCUS

WHAT IS IT?

When the group’s attention starts to drift, or when they’re over-excited, use these games to help focus attention back to the room and get everyone ready for the next task. These games are useful for encouraging the participants to think as a group and work as a team.

Make up your own rules and adapt them to suit your group... but here are just a few to get you started.

GAMESCollaborative Counting (Or One To Ten)

In a circle facing each other to begin with (but with backs to one another as the group becomes more tightly knit), participants must slowly count to ten. One person contributes a number at any one time. If two people speak at the same time the group must start again. After the process the group can be asked to reflect on what worked and what didn’t.

Make it harder by introducing new rules e.g. no-one can say the same number twice when you restart the game; try with just boys then just girls to see who can get further; no-one can say more than one number during one game.

Eye Contact Shuffle

This is a game to promote collaboration and positive non-verbal group interaction. (It also gets everyone to shush and sit next to someone new). In silence members of the group look around the circle. When they catch the gaze of another person they have to swap seats. The group has to maintain focus for as many swaps as possible. If the pair or anyone in the group laughs or speaks the swap counter is reset. Try setting them a challenge, maybe 10 swaps.

RECIPE



Preparation time: None


Materials: None

To encourage a group to manage their own behaviour, offer them these and similar games as ‘strategies’ to use if they feel the group is losing focus.

If a group struggles to achieve the objective of a game return to it again at the end of the session; try girls versus boys or ask the group to come up with three ‘top tips’ or strategies.

GAMES (cont.)Make it harder by asking the person to say ‘yes’ when they receive your eye contact. You start walking towards them but they can’t move until someone else has said ‘yes’ to them.

Who Started That?

Some one is ‘it’ and briefly leaves the room. In a circle the rest of the group appoint a leader. When ‘it’ rejoins the group the leader starts a series of subtle actions one after the other (e.g. swaying, twitching or chewing.) Everyone in the circle begins to imitate it. The person in the middle has to work out who started the action with three goes. If they succeed the leader becomes ‘it’ and goes outside. If ‘it’ fails, they go outside again and a new leader is chosen.

Make it harder by having two leaders.

One, Two, Three

The group pair off. Each pair has to count to three, alternating each time. i.e. Person A: “One”; Person B “Two”; Person A: “Three”; Person B “One; Person A “Two” etc. As the counting speeds up the activity requires more and more concentration. If one pair is particularly fast, ask the rest of the group to watch them.

Make it harder by replacing one or all of the numbers with an action or sound like a clap, a jump or a whoop.

‘Games for Actors and Non-Actors’ by Augusto Boal and Adrian Jackson

‘Drama Games for Classrooms and Workshops’ by Jessica Swale

See ‘Games to Re-energise’ Tool

See ‘Games to Support Enquiry’ Tool




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GAMES TO SUPPORT ENQUIRY

WHAT IS IT?

Philosophical enquiry requires skills and attributes that take time to develop. These games promote turn-taking, speaking and listening, reasoning and reflection. They can be used to introduce, break-up, or conclude a session.

Make up your own rules and adapt them to suit your group...here are just a few to get you started.

GAMESPhilosophy Fruit salad

Sitting on chairs in a circle, swap places in response to various philosophical propositions. E.g. Swap places if... “You think that you are a brain, if you think the universe is infinite, if you think capital punishment is right, if you think words have fixed meanings...”

This game familiarises students with philosophical subject matter and promotes questioning.

Speed Dating

In response to some stimulus, pairs comprised of person A and person B compose philosophical questions. They begin to discuss their question but when three minutes are up, the B’s must rotate right, swapping partners and questions. The A’s might explain where they got to with their last partner while the B’s bring additional considerations to the conversation, some of which might be influenced by their previous conversations.

This game gives students an opportunity explore an issue focussing on depth (if you’re in the inner circle thinking about one question) and breadth (if you’re in the outer circle thinking about many questions).

RECIPE



Preparation time: None (But you might need 5 minutes to collect objects for ‘Simile Prop Box’)


Materials: None (Except a box of props or objects for ‘Simile Prop Box’)

If the students are struggling to concentrate you could use a focussing game before moving on to the next activity. (See ‘Games to Focus’ Tool.)

GAMES (cont.)Simile Prop Box

Using a word or concept voted for by the group, participants take it in turns to pick a prop or an object from a box and use it as a simile. Any objects will do! E.g. “Fear is like a pair of scissors because it cuts right through you.” “Family is like money because you can’t survive without it.” Etc.

This game promotes creative thinking and the articulation of new ideas.

Reason Chains

In a circle an appointed leader begins the chain with an event e.g. “Kate went to the police station”. The participants around the circle continue the chain by giving an explanatory reason for the event.

E.g. “Kate went to the police station because she crashed her car”. The next person gives a reason for that reason, and so on until the group can’t go any further. E.g “Kate crashed her car, because she was driving too fast”; “Kate was driving too fast because she was in a rush”; “Kate was in a rush because she was late for work”; “Kate was late for work because her alarm didn’t go off” …

This game demonstrates the role of reasons in discussion and story-telling.

You Missed A Bit

To recap or to conclude, ask the group to tell the story of the day / session / piece of stimulus starting from the very beginning. One person starts but every time someone thinks they’ve missed a bit they interrupt with ‘You missed a bit...’ and take up the telling of the story including the extra piece of information.

This exercise builds up a detailed picture of the groups’ collective memory, supporting their reflective thinking.







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ACTIVITY-BASED DISCUSSION

WHAT IS IT?

Deep learning for practical, hands-on learners can be facilitated within sessions that combine words and action.

For some students, the stillness and concentration required for a rich discussion can be a turn-off. A discussion embedded in an absorbing activity can occupy learners, freeing them to have less pressured, more natural conversations.

This tool discusses two ways you might bring this about: By discussing an issue whilst absorbed in an activity or by immersing students in an activity which is followed by a period of reflection.

HOW DOES IT WORK?

Discuss While DoingSet the students an open question as the theme of the lesson before the activity. Next spend some time familiarizing them with the activity you’d like them to do. Then you can then initiate discussion with individual learners in an informal way or you can structure a session so that learners work in groups and are prepared to feedback on their discussion at the end.

Example SessionsIn HistoryAround the question: ‘Should we preserve skills for posterity?’ students could knit.

In CitizenshipAround the question: ‘What does home mean to you?’ students could build shelters or dens.

In Religious Studies

Around the question: ‘Why do humans have rituals’ students could dip candles.

RECIPE

No. of participants: 2 +





YOUR NOTES...

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The activity you choose can be something new or unexpected like gardening, beat boxing or origami.

School trips can be followed up with structured reflective discussion on the bus home.

HOW DOES IT WORK? (cont.)

Action – Reflection

The session begins with a themed activity which is followed by an opportunity for students have a structured discussion around an open question you introduce after the activity.

Example Sessions

In Art

After a school trip to a gallery students could have a structured discussion around the question: ‘What make something beautiful?’

In Biology

After intensive activity the class could have a discussion around the question: ‘What is fitness?’

In Languages

Students could meet a teacher-in-role or a character speaking a new language they’ve never heard before. Afterwards, a reflective discussion might begin with the question: “To what extent is communication non-verbal?”

See ‘ Enquiry in Role’ Tool


See ‘Provocation’ Tool




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CASCADE

WHAT IS IT?

A cascade is a structured activity that takes place over weeks or months in which students disseminate their learning to younger peers.

A cascade structure provides an opportunity for learners to clarify and consolidate their learning before communicating it to others. This experience of dissemination invites reflection on both the content of the learning and the learning process itself. Their thinking in both areas is often refined as a result.

HOW DOES IT WORK?A Cascade scheme is a phased programme of work comprising of the following elements:

1. Introducing The Cascade: A group of learners embark on a new project together, having been told in advance that the project will involve disseminating their learning to a wider group of peers. It’s useful that they are forewarned so they can think about how they might communicate their learning, as they learn.

2. Learning Experience: The centre point of a cascade is a new learning experience for the core group. This experience could be tied to the curriculum or independent from it. The core group could do a forestry skills course, learn a new sport, work with an architect etc.

3. Consolidation: After the initial experience the core group needs dedicated time to consolidate what they’ve learnt and reflect. (See ‘Using Film’ and ‘Activity-Based Discussion’ Tools for further ideas on how to bring this about).

4. Planning: Based on their understanding of what they’ve learnt, the students in the core group then begin to plan a session or series of sessions that will communicate some aspect of their learning to younger students.

RECIPE

No. of participants: 5 – 30 (maximum 8 per subgroup)


Preparation time: 30 minutes – several days (for a more complex structure)

Delivery time: Will depend on the activity and the cascade structure


YOUR NOTES...

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To support the consolidation phase, learners could keep a video diary or shared scrap book during the initial ‘experience’ phase of work.

You could run a cascade where Year 10 worked with the new intake of Year 7s, or Year 9 worked with local primary feeder schools.

Cascade schemes in which the students are too close in age (i.e. Year 9 working with Year 8) can be problematic as the authority of the core group can be difficult to establish.

HOW DOES IT WORK? (cont.)5. Delivery: The students can then deliver the session they’ve prepared to the group of younger peers.

6. Refinement: Shortly after the delivery, students meet to reflect on the delivery process and identify successes and failures.

7. Refined Delivery: Based on their reflection, the core group may want to have a second go at delivering a more refined session or series of sessions.

8. Reflection: The project should end with a presentation of the groups’ learning which might involve the students they delivered to, as well as the wider school, parents and teachers. The students might want to comment on what they have learned about the content and the process.

See ‘Provocation’ Tool

See ‘Activity-Based Discussion’ Tool

See ‘Using Film’ Tool




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COMMUNITY OF ENQUIRY

WHAT IS IT?

A Community of Enquiry is a group of people who use a framework for group dialogue to engage with their own philosophical questions. A Community of Enquiry approach (sometimes called a Philosophy for Children or P4C approach) aims to encourage learners to think critically, caringly, creatively and collaboratively.

Constructive dialogue (as opposed to chatting) involves sharing views, identifying intuitions, clarifying concepts, examining reasons, suggesting alternatives, testing intuitions and considering criticisms.

Dialogues not only give people the opportunity to engage with some of the most puzzling and intriguing questions around, they also develop essential thinking and communication skills whilst making these skills explicit to learners in order that they might learn to learn more effectively.

HOW DOES IT WORK?1. Preparation: An enquiry typically begins with an activity to focus the group such as a game, a meditation, a period of silence or a cup of tea (see ‘Games to Focus’ Tool).

2. Stimulus: Next the group is exposed to a rich source of interest, intrigue or puzzlement or a new experience (see ‘Thinking in Role’ Tool and ‘Taking Enquiry Further’ Tool).

3. Absorption: Before anyone responds to the stimulus, everyone has an opportunity to think, absorb and reflect in silence.

RECIPE



Preparation time: 10 minutes


Materials: A source of stimulus e.g. article, story, music.

Each person who wants to contribute should signal (e.g. Show an open palm).

A useful way to ensure your comments build on what has already been said is to prefix your contribution with: ‘I agree or disagree because…’

If the discussion is losing focus, ask for a volunteer to summarise key points so far.

To promote turn-taking the facilitator should set a good example by signalling if they would like to contribute to the discussion, rather than jumping in.

However, when the facilitator needs to use their role for management of the discussion they don’t need to wait to be asked.

Why not let a student choose the stimulus next time?

HOW DOES IT WORK? (cont.)4. Conversation: In pairs, the participants share their first thoughts and feelings about the stimulus.

5. Formulation Of Questions: In pairs or in small groups, students compose philosophical questions which probe some aspect of the stimulus they found interesting.

6. Airing Of Suggestions: Once each pair has agreed on a philosophical question, the questions are shared with the rest of the group. Sometimes there might be an opportunity to explore the range of questions considering common themes, key differences, or presumptions.

7. Selection / Voting: The central enquiry question is voted for by the students. As the community develops they should explore and make explicit the criteria by which they are making their decision. E.g. A good enquiry question should be open; it should invite lots of different views; it should address an issue people think is very important; it should be a question that can’t be decisively answered by asking an expert, doing an experiment or searching the internet.

8. First Words: The discussion begins with an opportunity for the person who composed the question to explain why it interested him or her.

9. Building Through Dialogue: Next participants are invited to build on what others have said by taking turns to comment on the question and the contributions of others. The person currently speaking (not the teacher!) chooses who speaks next.

10. Final Words: Finally everyone in the group is invited to reflect on the discussion and, if they like, to offer a final comment.

‘Philosophy for Children’ by Matthew Lipman

Visit SAPERE’s website http://www.sapere.org.uk/







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GOLDFISH BOWL

WHAT IS IT?

The Goldfish Bowl a tool for analysing and improving group discussion.

A group discussion is observed by several participants who are each looking at a particular aspect of group interaction: Do a few strong characters dominate? Does everyone get a chance to speak? What were the topics covered and what conclusions did they draw?

This activity makes explicit to learners the importance of speaking and listening and provides them with a frame of reference for improving the quality of future discussions.

HOW DOES IT WORK?In a Goldfish Bowl, one group of learners sit in a circle in the middle while a second group sit in a circle around them. The central circle are the goldfish in their bowl; the outer circle are looking into the bowl. The central circle are involved in a discussion or activity while the outer circle do not participate in the discussion but analyse the central group and then report back.

Beforehand the facilitator prepares a series of cards containing criteria for the outer group to focus on. Each student in the outer circle picks one of these cards and makes notes on those criteria during the discussion.

During the activity the inner circle have a topic or problem to discuss. They conduct a dialogue, uninterrupted and following the enquiry conventions, for several minutes. Within their discussion the person who’s spoken chooses who speaks next (please see ‘Community of Enquiry’ Tool).

Once the discussion has drawn to a close the outer circle report back on their findings. Then, as a group, the participants decide what does and doesn’t work well in a discussion.

The two groups can then swap so that everyone has a turn at being the goldfish. The findings of the outer group feed into the overall picture that the whole group is forming of how a good discussion works.

RECIPE

No. of participants: 10 - 30

Age of participants: Any age, as long as they understand what they are being asked to analyse.

Preparation time: 0 – 30 minutes which might include preparation for the central discussion and cutting out criteria for the outer group to focus on.

Delivery time: 10 – 60 minutes

Materials: Cards containing analysis for criteria; two circles of chairs; pens and paper.

The participants can decide the criteria for analysis themselves based on an initial discussion.

Check that the students in the outer circle fully understand what their card is asking them to look for before you begin.

Film the students taking part in a discussion and then later on ask them to watch the tape back as a Goldfish Bowl activity.

The features of a good dialogue discussed by the students at the end of the activity can be put onto cards for future, repeated, Goldfish Bowl exercises. This method can be used by the students to regularly review and update their progress as participants in good dialogue.


Example questions:

Questions About Group Interaction

How many male students and how many female students speak?

Make a note of ways people show they are listening.

Questions About Language

Make a note of any words that cause confusion.

What language do participants use to build on what has already been said?

Questions About Individual Contributions

Which members spoke for the longest time without interruptions?

Which members try to include others? How do they do it?

Questions About Process

Make a note of any occasions when the group gets stuck.

Make a note of any occasions someone changes the subject.

Questions About Content

What were the main points discussed?

What, if any, conclusions did they draw?

‘Community of Enquiry’ Tool outlines how to help the inner circle have a focused discussion.

‘Thought Experiments’ Tool provides some thought-provoking stimulus for the inner circle.

See ‘Using Film’ Tool.




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JUST ONE INSTRUCTION

WHAT IS IT?‘Just One Instruction’ is an activity designed to help students and teachers become more comfortable about working in an open-ended way.

The facilitator can choose any instruction they like but their role is to give just one instruction and no more! Even if the groups ask further questions the facilitator mustn’t give anything else away.

The participants in this exercise work in small groups with a collection of objects within a set period of time. What they do with these resources is entirely up to them.

Once the time has elapsed the whole group comes together to reflect: they report back on what they did, why they did it and how it felt to work without set parameters.

HOW DOES IT WORK?It’s important that you begin this activity with a minimum of background information. You might tell the participants that they’re going to play a game or take part in an exercise but don’t give much else away.

First divide the group into a minimum of two sub-groups. Invite members of each group to take it in turns to select objects from a suitcase (or box) of props. Don’t give the participants any criteria for choosing, even if they ask.

Next explain to them that they will have a set period of time (e.g. 20 minutes) for this activity and a designated place, away from the other group, to work. Explain to them that there is just one instruction for this activity, and this one instruction is all the guidance you’re going to give them.

RECIPE

No. of participants: 8 – 60 in total (sub-groups of 2 – 8)


Preparation time: 10 minutes

Delivery time: 10 minutes - 1 hour

Materials: A collection of miscellaneous props in a suitcase or box

YOUR NOTES...

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Avoid implicitly laying out any expectations, e.g. ‘At the end of the activity we’ll feedback’ which might suggest to the students that you want them to perform or present.

Objects to put in the box might include: an old photograph, postcards, a perfume bottle, costumes, a hat, ornaments, a pot plant, a cuddly toy etc.

The first ten minutes or so will involve a lot of confusion and perhaps even some frustration. Avoid the temptation to intervene, to give any hints or to tell the participants that they have to do something. Even though it’s uncomfortable, this initial experience is one of the most valuable for the participants on reflection.

You might find it useful to move between the groups making notes. Through observation you implicitly suggest that whatever they’re doing is interesting and constitutes the activity, this can also improve their focus. You can then bring your observations to the discussion afterwards.

During the discussion at the end of the activity, make it clear that you weren’t expecting anything in particular from the groups and that no response is the ‘right’ one.

HOW DOES IT WORK? (cont.)Then give them their instruction, and start the clock.

You can choose any instruction you like but you’ll probably find that instructions which deal with broad philosophical concepts make for rich experiences. For example your instruction might be “Be Human”, “Be Creative”, “Be Yourself” or “Be Free” etc…

Once the time is up invite the groups back together to talk about what they’ve done. This might be an opportunity to analyse the concept they’ve been exploring, as well as the experience of working in a collaborative, open-ended way. They might want to present something to the other group, but every group will be different.





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CONCEPT BUILDING

WHAT IS IT?Analysing abstract concepts can be tricky. This tool promotes the exploration of ideas around abstract concepts through non-verbal activities such as model-making, drawing and tableaux.

Working in this way provides a new vocabulary for learners grappling with difficult ideas. The products of this creative activity then provide a concrete starting point for rich conceptual analysis through group discussions.

HOW DOES IT WORK?The facilitator chooses a concept they’d like the group to explore. Alternatively they can provide a bank of concepts (e.g. peace, boredom, justice, beauty) and each group can pick a different one at random. Each group are given their method (model-making, soundscape, tableaux etc.) and a time limit: they have x minutes to create a model of their concept starting... Now!

Model-making: The group use plasticine, lego-blocks or equivalent to create something that represents their concept.

Soundscape: A soundscape can be any collection of sounds – which might include words or song lyrics – made from the materials to hand. They could use the chairs, their bodies or some instruments if you have some available. The finished soundscape can last for any length of time, but ideally not longer than 3 minutes.

Tableaux: The tableaux is a static arrangement of bodies to represent a scene or picture. When they show the finished tableaux they should hold the pose for at least 30 seconds so that everyone in the room can really take in all of the poses. (See ‘Dramatic Devices’ Tool for a way to extend this process.)

RECIPENo. of participants: 100 (split into subgroups max. 8 per group ).


Preparation time: However long it takes to source the materials. Once you have chosen the concepts there is no preparation time.


Materials: Lego bricks; Plasticine; Musical instruments; Drawing materials; Piles of assorted rubbish; Collection of miscellaneous items.

YOUR NOTES...

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As the facilitator try and give as little guidance to their activity as possible. After the concept has been explored everyone can discuss as a group how well they think the concept has been represented.

For surprising results try using lots of different methods to analyse the same concept or use lots of different concepts with just one method.

The participants might find the models distracting so ask them to put them to one side during the discussion.

HOW DOES IT WORK? (cont.)Visual Arts: Any collection of materials can be used to construct a sculpture and any sorts of drawing materials can be used to paint or illustrate their idea of the concept.

Once the time is up each group takes it in turns to show the rest of the groups their creation. If you’ve chosen different concepts for each group it is fun for everyone else to try and guess what concept was being represented after the presentation of each one.

A group discussion around each concept can follow. In the discussion it can be interesting to draw upon the contrast between those groups who have taken a more literal approach (e.g. to depict a situation or object) and those who have chosen to be more abstract (e.g. to evoke a feeling). How well do the group think these different approaches represent the concept?

See ‘Just One Instruction’ Tool





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ENQUIRY IN ROLE

WHAT IS IT?Seeing a problem from more than one perspective is crucial to critical thinking, but it’s not always easy to achieve. Drama naturally encourages learners to see in new ways.

Philosophical thinking in role involves bringing to life a dilemma, puzzle or problem within an imagined scenario. The role-play can be loosely structured around an enquiry framework allowing learners to engage with big ideas critically and creatively.

HOW DOES IT WORK?The facilitator identifies an issue, dilemma, puzzle or scenario they’d like their students to explore. You might find philosophical thought experiments particularly useful starting points (see ‘Thought Experiments’ Tool).

An enquiry in role is then structured as follows

1. Taking On Roles: The learners are invited to take on roles. You might go about this by giving them some element of costume or prop, engaging them in conversation or asking them to take an oath or to keep a promise.

2. Imparting Key Information: A character or characters introduce key information; presenting the participants with the central dilemma. If possible introduce information via a performer (which could be you, a colleague or a recording of an actor).

3. Taking Stock: Ask the students: ‘What do we know?’ ‘What do we need to know?’

4. Dealing With Questions: The students hot seat the character who imparted the information. They respond by answering the empirical questions, leaving the philosophical questions for the learners to explore.

RECIPENo. of participants: 4 - 30


Preparation time: 30 minutes for a basic scenario. Several hours or even days for a large scale scenario with script props, costume and production elements such as music lighting or set.


Materials: You can run an enquiry in role with no materials at all, but a loose script, props, costume and production elements enrich the activity.

This can be a time consuming activity to plan but once you devise a good scenario it can be used and improved year on year. A good enquiry in role can be used to introduce key issues in History, Science and RS. It’s also useful for English Speaking and Listening assessments or role plays in Modern Foreign Languages.

If you want to run an enquiry in role on your own, use costume and prop to allow you to play different parts.

A voice recording, mock newspaper article, answer phone message or video performance can all work as dramatic stimuli if you don’t feel confident performing yourself.


5. Exploring The Issue: The learners can then use dramatic devices such as tableaux, thought tracking, flash back, or forum theatre, to explore their central philosophical question. (See ‘Dramatic devices’ Tool.)

6. Subversion / Challenge: Move the drama forward by introducing a twist via a new character. The actor/facilitator may bring fresh information or they could present a different side of the argument.

7. Decision Time: The need to make a decision brings the enquiry to a head; maybe there is an impending natural disaster or the press are waiting for comments etc. These decisions can then form the basis of out-of role discussion.

8. Reflection: What did your character decide and why? What would you have done? How does your view compare with the view of your character?

If you’d like to use one of our scripted ‘off the shelf’ enquires please get in touch at the address below.

See work by Gordon Poad who developed the Dramatic Enquiry Approach at Cap-A-Pie Associates http://www.cap-a-pie.co.uk/

‘The Pig that Wants to be Eaten‘ by Julian Baggini.







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IDEA GENERATION

WHAT IS IT?Being able to generate ideas quickly, is a skill that’s useful for planning sessions as well as for encouraging new ideas from students.

A brainstorm is an exercise to stimulate thought association. Using stimulus encourages ideas to be generated around the problem, which then leads to a new approach to the problem.

HOW DOES IT WORK?Identifying the problem or question is the first step so make sure you’re very clear about what you want to generate ideas about / for before you begin. A group of people of any size can generate ideas together; all you need is for someone to write down everything everyone says, so it’s easier in smaller groups because you don’t miss anything. It’s important not to edit the ideas until afterwards – the initial ‘thought-shower’ should capture everything said (however daft) – which will also build confidence in all participants.These methods mean that you can quickly take stimulus from almost anywhere to help give you a new perspective on a problem and to generate lots of alternatives.

BasicA basic brainstorm involves putting the topic or question in the middle of a piece of paper and writing down everything the group can think of around that topic or question. The next step is to take one of these thoughts or solutions and explore it as a group to see how it could fit the problem.

Opposite WorldsThink of all of the things that would be the exact opposite of what you want your idea to be or the opposite solution to your problem (often this is a lot easier!). This can help clarify what you do want it to be, but it’s more exciting to then explore some of these opposites. E.g. In History: What if we told the story of an event with no reference to times or dates? What if we based it on a book set in the future?

RECIPENo. of participants: 2 – 10 (per group)


Preparation time: 0 – 30 minutes to gather stimulus


Materials: Paper / whiteboard and pens

Be confident and say whatever comes to mind; people will rarely have thought of the same idea as you, however obvious it might seem to you.

A useful way to make sure that everyone in the group continues to contribute is to apply the ‘Yes, and...’ rule. Don’t say ‘no’ to an idea, just keep asking for more.

Be unrealistic and ambitious at first. Once you start making concrete plans it’s much easier to reign something in than to try and make it more ambitious.

Hold your planning sessions or brainstorms in an unusual setting, away from your normal office or classroom. You’ll think bigger and better away from the norm.

HOW DOES IT WORK? (cont.)Related WorldsFind a world that is related to your problem or idea and brainstorm around that. E.g. What if an organisation like school was run like an army barracks? What if it was run like a temple for Buddhist Monks? Take some of the elements of this world and turn them into a solution or idea instead. You’ll find that you’re looking at the problem in a fresh, but still related, way.

Random Brainstorm around a completely random item and then apply the results of that brainstorm to your problem. Force yourself to make the connection or come up with a solution incorporating these seemingly unrelated ideas. Or treat your problem as if it were something else. Using a bank of stimulus e.g. a list of film titles; celebrities faces; news headlines, ask the group what your problem/lesson/idea would be like if it were that film, or endorsed by that celebrity, or had caused that news headline.

Idea SmashTake two random topics and conduct two separate brainstorms around each of them. Now take one element from each of these brainstorms and smash them together to come up with an idea that answers your problem. You need to repeat this multiple times and not mind about the answers that are ludicrous. In fact, encourage them! The more creative the group gets the more likely they are to eventually come up with a clever and unique solution.

Writing UpIt needs to be someone’s job to write up all of the ideas after the brainstorm. These are then distributed to everyone and used as a starting point when the group come back together. It’s amazing how quickly great ideas are forgotten if they’re not written up immediately.If there are too many ideas to write up then as an end point everyone in the group has ‘Three Ticks’ to choose their favourites. Only the ideas with the most ticks are written up.

Thinkpak (Cards for Brainstorming) By Michael Michalko

Advice and resources from Thinking Maps http://www.thinkingmaps.com/

Free Mind Mapping Software download at Smartdraw.com http://www.smartdraw.com/specials/ppc/mindmapping.htm

‘How To Have Creative Ideas’ by Edward de Bono




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