Why do we learn English?
English Curriculum Intent
At Ark Victoria, we believe English is a core subject; the fundamental skills of oracy and literacy developed in English enable pupils to access the wider curriculum. Our English curriculum develops a child’s love of reading, writing and discussion. Pupils leave us as passionate readers and confident writers. They read widely and often and are, therefore, able to discuss different genres and authors. They can make links between different texts. They engage in debate and discussion. Using research, they can form opinions and articulate their ideas. At Ark Victoria, pupils are careful listeners and confident speakers. We recognise the importance of nurturing a culture where children take pride in their writing, can write clearly and accurately and adapt their language and style for a range of contexts.
Aims of Our English Curriculum
National Curriculum:
The national curriculum for English aims to ensure that all pupils:
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Are supported to read easily, fluently and with good understanding and to develop the habit of reading widely and often, for both pleasure and information.
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acquire a wide vocabulary, an understanding of grammar and knowledge of linguistic conventions for reading, writing and spoken language.
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appreciate our rich and varied literary heritage.
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write clearly, accurately and coherently, adapting their language and style in and for a range of contexts, purposes and audiences.
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use discussion in order to learn; they should be able to elaborate and explain clearly their understanding and ideas. Pupils 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 |
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Brown Bear, Brown Bear, What do you See? | Dear Zoo – Rod Campbell |
Spring 1 | Spring 2 |
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Goldilocks and the Three Bears | The Little Red Hen – Jonathan Allen |
Summer 1 | Summer 2 |
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The Bad-Tempered Ladybird – Eric Carle | Commotion in the Ocean – Giles Andreae |
Reception
Autumn 1 | Autumn 2 |
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The Very Hungry Caterpillar – Eric Carle | The Gingerbread Man |
Spring 1 | Spring 2 |
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Jack and the Beanstalk | Little Rabbit Foo Foo – Michael Rosen |
Summer 1 | Summer 2 |
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Elmer – David McKee | Dinosaur Bones – Bob Barner |
Year 1
Autumn 1 | Autumn 2 |
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Owl Babies - Martin Waddel Sentence structure and 3- part story |
The Lonely Beast – Chris Judge 5-part story, poetry & instructions. |
Spring 1 | Spring 2 |
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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 |
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Usborne Illustrated Fairy Tales Traditional tale |
Naughty Bus – Jan Oke 5-part story poetry |
Year 2
Autumn 1 | Autumn 2 |
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The Great Paper Caper – Oliver Jeffers Sentence structure and recount |
The Snow Dragon – Abi Elphinstone Poetry, 1st person recount |
Spring 1 | Spring 2 |
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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 |
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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 |
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Boom – Alan MacDonald Sentence structure and 5- part story |
The Egyptian Cinderella – Shirley Climo Instructions, short-story and explanation |
Spring 1 | Spring 2 |
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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 |
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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 |
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Krindlekrax – Philip Ridley Sentence structure and diary entry |
The Firework Maker’s Daughter – Phillip Pullman Short story, explanation, poetry. |
Spring 1 | Spring 2 |
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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 |
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A Midsummer Night’s Dream Story and biography |
Street Child – Berlie Doherty Diary entry, non- chron |
Year 5
Autumn 1 | Autumn 2 |
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Holes - Louis Sachar Sentence structure and diary entry |
Phoenix – S.F. Said Character description, instructions and biography |
Spring 1 | Spring 2 |
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The Last Wild – Piers Torday Adventure story, discussion text, poetry |
The Explorer – Katherine Rundell Character description, Newpaper article |
Summer 1 | Summer 2 |
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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 |
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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 |
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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 |
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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 1 | Autumn 2 |
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English - Oliver Twist (19 Century Novel)
Art of the sentence and setting description |
English - Oliver Twist (19 Century Novel)
Setting and characterisation |
Spring 1 | Spring 2 |
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English -A Midsummer Night’s Dream (Shakespeare Play)
Writing to explain (Diary and Letter) |
English -A Midsummer Night’s Dream (Shakespeare Play)
Writing to argue (Letter) |
Summer 1 | Summer 2 |
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English – Metaphorical Poetry
Narrative writing |
English – Metaphorical Poetry
Writing to persuade (Speech) |
Year 8
Autumn 1 | Autumn 2 |
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Sherlock Holmes (19 Century Novel) Art of the sentence and setting description |
Sherlock Holmes (19 Century Novel) Narrative writing and plot |
Spring 1 | Spring 2 |
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English – The Tempest (Shakespeare Play)
Writing to argue (Article and report) |
English – The Tempest (Shakespeare Play)
Writing to entertain/ perform (Poetry) |
Summer 1 | Summer 2 |
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English – Animal Farm (20th Century Novel)
Writing to explain (Article & Speech) |
English – Animal Farm (20th Century Novel)
Writing to persuade (Article & Speech) |
Year 9
Autumn 1 | Autumn 2 |
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Jane Eyre (19th Century Novel) Art of the sentence and setting description |
Jane Eyre (19th Century Novel) Narrative writing and plot |
Spring 1 | Spring 2 |
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English – Small Island (Modern play)
Writing to Explain (Letter, Article) |
English – Small Island (Modern play)
Writing to entertain/ perform (Podcast) |
Summer 1 | Summer 2 |
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English – Poetry Comparison - Journey Poetry
Narrative Writing |
English – Poetry Comparison - Journey Poetry
Writing to persuade (Speech) |
Year 10
Autumn 1 | Autumn 2 |
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An Inspector Calls (Modern Drama)Unseen fiction analysis and writing
Language Paper 1: CW across term 1 Art of the sentence and setting description
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An Inspector Calls (Modern Drama) Unseen fiction analysis and writing Macbeth (Shakespeare Play) Unseen non-fiction analysis and writing |
Spring 1 | Spring 2 |
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Across term Language Paper 2: Writing to Persuade Writing to Argue Writing to Explain/ inform Macbeth (Shakespeare Play) Unseen non-fiction analysis and writing |
The Curious Incident of Dr. Unseen Fiction analysis and writing Language Paper 1: CW across term 1 Art of the sentence and setting description |
Summer 1 | Summer 2 |
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The Curious Incident of Dr. Unseen Fiction analysis and writing |
The Curious Incident of Dr. Unseen Fiction analysis and writing |
Year 11
Autumn 1 | Autumn 2 |
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Anthology Poetry - Comparison- Power and Conflict Unseen non-fiction analysis and writing. Lang Paper 1&2 Expressive writing for stimulus both NF and F |
Anthology Poetry - Comparison- Power and Conflict
Unseen fiction analysis and writing. Unseen Poetry – Comparison Unseen fiction analysis and writing. |
Spring 1 | Spring 2 |
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Across term Language Paper 2:
Writing to Persuade Writing to Argue Writing to Explain/ inform Unseen Poetry – Comparison Unseen fiction analysis and writing. |
Exam preparation and Precision Teaching Plan for each class |
Summer 1 | Summer 2 |
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