AWI in Lesson Planning and Triple E Framework

Part One: Authentic Intellectual Work/Authentic Instruction & Assessment

Every day, adults are tasked with performing authentic intellectual work. This week, for instance, I am responsible for balancing my finances between two different countries. I need to develop a savings plan, calculate my daily living expenses, and understand how to transfer money between bank accounts while accounting for taxes on my Chinese salary (as a foreign worker in China) and taxes on income from jobs I held in the U.S. earlier this year. Sounds complicated, right? These are the types of problems adults face daily, but did we learn how to tackle such tasks in school? I did not. Most of my math classes involved solving problems presented by the teacher, and while I learned calculations for tests and exams, that knowledge has faded over time.

This is where Authentic Intellectual Work (AIW) comes into play. We need to provide students with real-world problems that can be applied outside of school. The three-fold criteria for AIW include the construction of knowledge, disciplined inquiry, and value beyond school. Authentic Intellectual Work must be balanced with Authentic Instruction and Assessment. This means educators can use various instructional strategies, but the instruction should lead to Authentic Intellectual Work. Assessments should not merely test students on memorized content; instead, they must demonstrate that students have not only learned but can also apply their knowledge effectively.

The Chicago 12-School Study (K-8) shows a stark contrast in test scores between teachers who used Authentic Instruction and those who did not. The scores were “30 to 56 percentiles higher than students of teachers who gave the lowest quality assignments” (Newmann et al., 2007).

After learning about Authentic Intellectual Work, I wanted to explore how my students could apply this concept in my classroom, specifically in a high school improv acting class. Many of these students are holding their first jobs or discussing the types of jobs they want after college. I propose a project where students research what employers look for in candidates and prepare questions they believe an employer might ask in a job interview. Students will improvise this scenario, with one acting as the employer and the other as the interviewee, responding to questions on the spot.

This project will involve research, creativity, and the development of questions based on job titles. It will teach students to think on their feet in a professional environment. To add variety, I might ask students to portray a character who is unlikely to get the job, demonstrating what not to do in an interview. This will further develop their improv skills, which are applicable throughout their lives. This is an example of Authentic Intellectual Work—not just something for students to memorize, rinse, and repeat.

Part Two: 2024 National Education Technology Plan Update

In 2024, students of all ages are integrating technology into their daily lives. They actively engage with technology outside of school by commenting on social media, creating TikTok videos, or writing code for video games. Additionally, there is a significant amount of passive technology use, such as watching hours of YouTube, scrolling through social media, or playing video games that require minimal interaction. The 2024 NEP looks at how teachers can include those types of technology interactions in their classrooms. 

I teach a high school Dance/Movement class. At the beginning of the year, I had students watch several videos showcasing various elements of dance, including emotional expression and different styles. I soon recognized that merely showing a dance video was not sufficient; students needed to interact with the technology instead of just observing it. I designed an assignment where students researched and posted Hip-Hop dance videos on Padlet, then commented on their peers' videos using Hip-Hop terminology we had learned in class.

For my next project, I want to deepen these technological interactions. We have discussed why people dance, often as a means of expressing their passions. Students will research a social issue they are passionate about and create a dance piece inspired by that topic. In addition to researching their subject, they will film their dance to incorporate video editing, further enhancing their message. This project will encourage disciplined inquiry, prompting students to consider how they can discuss social issues without using their voices.

This project aligns with Universal Design for Learning (UDL) principles, accommodating a wide range of learners and dance abilities in my class. For instance, I have a student who struggles in most other subjects due to ADHD but thrives in dance/movement because he is highly observant and can engage fully during our 80-minute classes. I believe that allowing him to explore a topic he is passionate about through dance will lead to significant success. Similarly, students with lower-level dance skills can create simple movements while leveraging their technology and video creation skills to enhance the meaning of their projects.

UDL fosters an environment where students of all abilities can thrive through active technology use. These types of projects create authentic learners who are deeply engaged and passionate about their creations.

Part 3:  Triple E Framework

The outbreak of the COVID-19 pandemic forced many schools to transition to virtual learning for extended periods. Personally, I struggled to integrate technology, especially active technology use, into the classroom during that time. Kolb’s Triple E framework serves as a guide for teachers to ensure that lessons effectively incorporate the three E’s—Engagement, Enhancement, and Extension—during lesson planning.

Let’s consider my Dance/Movement video project centered around students’ passions. Does it cover engagement? I plan to have students work in pairs for this project, allowing them to co-use technology. When editing their videos, they will likely share a device and collaborate to decide which editing elements best convey their message. This collaborative effort supports their learning goals, as the unit's theme aligns with the National Core Arts Standard (NCAS): DA.1.II a. Synthesize content generated from stimulus materials to choreograph dance studies or dances using original or codified movement.

Enhancement is achieved through personalization. Students will select a topic they are passionate about and express it through movement rather than words. Differentiation occurs by creating a multifaceted project that encourages various critical thinking skills. By participating in this project, students will develop a range of soft skills, which fall under the extension category of the Triple E framework. They will learn time management, artistic interpretation, empathy, and creativity.

A project that incorporates all three aspects of the Triple E framework naturally embodies Authentic Intellectual Work, promoting assignments that move beyond rote memorization and traditional tests. Multifaceted projects equip students with skills they can carry with them throughout their lives. We are shaping the future, so let’s equip our students with the skills they need for tomorrow.

References

Gaer, S., & Reyes, K. (2022). Finally, some guidance! using the triple E framework to shape technology integration. ADULT LITERACY EDUCATION THE INTERNATIONAL JOURNAL OF LITERACY LANGUAGE AND NUMERACY, 4(3), 34–40. https://doi.org/10.35847/sgaer.kreyes.4.3.34

Newmann, F. M., King, M. B., & Carmichael, D. L. (2007). Common standards for rigor and relevance in teaching academic subjects. In Iowa Department of Education, Prepared for the Iowa Department of Education.

The Digital Use Divide - Office of Educational Technology. (2024, January 31). Office of Educational Technology. https://tech.ed.gov/netp/digital-use-divide/

State Education Agency Directors of Arts Education. (2014). National Coalition for Core Arts Standards (2014) National Core Arts Standards [Report]. https://www.nationalartsstandards.org/sites/default/files/Dance