Why Do We Learn English?
English Curriculum Intent
At Ark Victoria Academy, we believe that English has a pre-eminent place in education and in society. A high-quality education in English will teach pupils to speak and write fluently so that they can communicate their ideas and emotions to others, and through their reading and listening, others can communicate with them. Through reading in particular, pupils have a chance to develop culturally, emotionally, intellectually, socially and spiritually. Literature, especially, plays a key role in such development. Reading also enables pupils both to acquire knowledge and to build on what they already know. All the skills of language are essential to participating fully as a member of society.
Aims of Our English Curriculum
The Ark Victoria Academy English curriculum aims to ensure that all pupils:
- read easily, fluently and with good understanding
- develop the habit of reading widely and often, for both pleasure and information
- acquire a wide vocabulary, an understanding of grammar and knowledge of linguistic conventions for reading, writing and spoken language
- appreciate our rich and varied literary heritage
- write clearly, accurately and coherently, adapting their language and style in and for a range of contexts, purposes and audiences
- use discussion in order to learn; they should be able to elaborate and explain clearly their understanding and ideas
- are competent in the arts of speaking and listening, making formal presentations, demonstrating to others and participating in debate
Spoken Language
Spoken language underpins the development of reading and writing. The quality and variety of language that pupils hear and speak at Ark Victoria Academy are vital for developing their vocabulary and grammar and their understanding for reading and writing. Pupils should develop a capacity to explain their understanding of books and other reading, and to prepare their ideas before they write. They must be assisted in making their thinking clear to themselves as well as to others, and teachers should ensure that pupils build secure foundations by using discussion to probe and remedy their misconceptions. Pupils should also be taught to understand and use the conventions for discussion and debate.
All pupils should be enabled to participate in and gain knowledge, skills and understanding associated with the artistic practice of drama. Pupils should be able to adopt, create and sustain a range of roles, responding appropriately to others in role. They should have opportunities to improvise, devise and script drama for one another and a range of audiences, as well as to rehearse, refine, share and respond thoughtfully to drama and theatre performances.
Reading
Confident readers will be able to learn more and enjoy the life-changing experience of reading for pleasure. Therefore, to meet this intention, our age-appropriate, diverse selection of texts link to wider curriculum units and support pupils to develop the ‘five pillars of reading’ (National Reading Panel): phonemic awareness, phonics, vocabulary, fluency and comprehension. For more information about our approach to reading, see our ‘approach to reading’ page.
Writing
We believe in the importance of eloquent self-expression in improving pupils’ future opportunities and personal wellbeing. Through our writing curriculum, pupils develop competence in transcription and composition. Writing down ideas fluently depends on effective transcription. Effective composition involves articulating and communicating ideas, and then organising them coherently for a reader. This requires clarity, awareness of the audience, purpose and context, and an increasingly wide knowledge of vocabulary and grammar. Writing also depends on fluent, legible and speedy handwriting.
(adapted from National Curriculum, 2014)
Nursery
| Autumn 1 | Autumn 2 |
|---|---|
| Brown Bear, Brown Bear, What do you See? | Dear Zoo – Rod Campbell |
| Spring 1 | Spring 2 |
|---|---|
| Goldilocks and the Three Bears | The Little Red Hen – Jonathan Allen |
| Summer 1 | Summer 2 |
|---|---|
| The Bad-Tempered Ladybird – Eric Carle | Commotion in the Ocean – Giles Andreae |
Reception
| Autumn 1 | Autumn 2 |
|---|---|
| The Very Hungry Caterpillar – Eric Carle | The Gingerbread Man |
| Spring 1 | Spring 2 |
|---|---|
| Jack and the Beanstalk | Little Rabbit Foo Foo – Michael Rosen |
| Summer 1 | Summer 2 |
|---|---|
| Elmer – David McKee | Dinosaur Bones – Bob Barner |
Year 1
| Autumn 1 | Autumn 2 |
|---|---|
|
Owl Babies - Martin Waddel Sentence structure and 3- part story |
The Lonely Beast – Chris Judge 5-part story, poetry & instructions. |
| Spring 1 | Spring 2 |
|---|---|
|
One Day on our Blue Planet: In the Rainforest Instructions, fact-file |
The Day the Crayons Quit– Oliver Jeffers Letter writing |
| Summer 1 | Summer 2 |
|---|---|
|
Usborne Illustrated Fairy Tales Traditional tale |
Naughty Bus – Jan Oke 5-part story poetry |
Year 2
| Autumn 1 | Autumn 2 |
|---|---|
|
The Great Paper Caper – Oliver Jeffers Sentence structure and recount |
The Snow Dragon – Abi Elphinstone Poetry, 1st person recount |
| Spring 1 | Spring 2 |
|---|---|
|
Fantastic Mr Fox – Roald Dahl Letter and non- chronological report |
The Smartest Giant in Town – Julia Donaldson Character description and newspaper report. |
| Summer 1 | Summer 2 |
|---|---|
|
The Antlered Ship – Dashka Slater Instruction text, 5-part story |
Peter Pan – J.M. Barrie Moral story and poetry |
Year 3
| Autumn 1 | Autumn 2 |
|---|---|
|
Boom – Alan MacDonald Sentence structure and 5- part story |
The Egyptian Cinderella – Shirley Climo Instructions, short-story and explanation |
| Spring 1 | Spring 2 |
|---|---|
|
The Chronicles of Narnia. The Lion, The Witch and The Wardrobe – C.S. Lewis Character description, newspaper report |
The Chronicles of Narnia. The Lion, The Witch and The Wardrobe – C.S. Lewis Character description, newspaper report |
| Summer 1 | Summer 2 |
|---|---|
|
Varjak Paw – S.F. Said Poetry, story ending |
Into the Jungle: Stories for Mowgil – Katherine Rundell Myth, non - chro report |
Year 4
| Autumn 1 | Autumn 2 |
|---|---|
|
Krindlekrax – Philip Ridley Sentence structure and diary entry |
The Firework Maker’s Daughter – Phillip Pullman Short story, explanation, poetry. |
| Spring 1 | Spring 2 |
|---|---|
|
Anglo- Saxon Boy – Tony Bradman Adventure and non- chronological report |
Charlie and the Chocolate Factory – Roald Dahl Persuasive letter and character description |
| Summer 1 | Summer 2 |
|---|---|
|
A Midsummer Night’s Dream Story and biography |
Street Child – Berlie Doherty Diary entry, non- chron |
Year 5
| Autumn 1 | Autumn 2 |
|---|---|
|
Holes - Louis Sachar Sentence structure and diary entry |
Phoenix – S.F. Said Character description, instructions and biography |
| Spring 1 | Spring 2 |
|---|---|
|
The Last Wild – Piers Torday Adventure story, discussion text, poetry |
The Explorer – Katherine Rundell Character description, Newpaper article |
| Summer 1 | Summer 2 |
|---|---|
|
The Elsewhere Emporium– Ross MacKenzie Complaint letter and diary entry |
Alice’s Adventures in Wonderland – Lewis Carroll Story (T&T) non chron report |
Year 6
| Autumn 1 | Autumn 2 |
|---|---|
|
Goodnight Mister Tom – Michelle Magorian Sentence structure and short story |
Once – Morris Gleitzman Rose Blanche - Setting Description, diary entry and biography |
| Spring 1 | Spring 2 |
|---|---|
|
The Island at the End of Everything – K.M. Hargrave Poetry, first chapter and discussion text |
The Goldfish Boy – Lisa Thompson Persuasive writing, dual perspective |
| Summer 1 | Summer 2 |
|---|---|
|
Hansel and Gretel – Neil Gaiman Lonely hearts ad and prologue |
The Boy at the Back of the Class – Onjali Q Rauf Report, creative writing |
Year 7
| Autumn | |
|---|---|
|
Oliver Twist (19 Century Novel) Writing to analyse Creative Writing – monologue from a character’s point of view
|
| Spring | |
|---|---|
|
A Midsummer Night’s Dream (Shakespeare Play) Writing to analyse Creative Writing – monologue from a character’s point of view Creative writing to explore historical context
|
| Summer | |
|---|---|
|
Metaphorical Poetry Writing own poetry Writing to analyse unseen poems
|
Year 8
| Autumn | |
|---|---|
|
Sherlock Holmes (19 Century Novel) Reading of Victorian mystery/ detective text and unseen fiction.
|
| Spring 1 | |
|---|---|
|
Romeo & Juliet (Shakespeare Play) Reading of Elizabethan drama text and unseen non-fiction
|
| Summer 1 | |
|---|---|
|
Animal Farm (20th Century Novel) Reading of modern novel text and unseen non-fiction Reading of political speeches and articles.
|
Year 9
| Autumn | |
|---|---|
|
Jane Eyre (19th Century Novel) Reading of Victorian mystery/ detective text and unseen fiction.
|
| Spring | |
|---|---|
|
Small Island (Modern play) Reading of modern drama text – Caribbean perspective and Windrush
|
| Summer | |
|---|---|
|
Poetry Comparison – Worlds and Lives Poetry Reading of poetry text and unseen non-fiction
|
Year 10
| Autumn | |
|---|---|
|
An Inspector Calls (Modern Drama) Unseen fiction analysis and writing
|
| Spring | |
|---|---|
|
Macbeth (Shakespeare Play) Unseen non-fiction analysis and writing
|
| Summer | |
|---|---|
|
The Curious Incident of Dr. Jekyll and Mr. Hyde (19th Century Novel) Unseen Fiction analysis and writing
|
Year 11
| Autumn | |
|---|---|
|
Anthology Poetry Comparison- Power and Conflict Unseen non-fiction analysis and writing. Reading of Poetry text and unseen non-fiction
|
| Spring | |
|---|---|
|
Unseen Poetry – Comparison Unseen fiction analysis and writing. Reading of Poetry text and unseen non-fiction
|
| Summer | |
|---|---|
|
Exam preparation Precision Teaching Plans |
