The graduate teacher programme in England: mentor training, quality assurance and the findings of inspection

In its recent report on the Graduate Teacher Programme (GTP), an employment-based route to Qualified Teacher Status (QTS) in England, the Government's Office for Standards in Education found that, although almost all trainees meet the standards required to qualify, too often they do so at an adequate level, rather than achieving the high levels of which they should be capable. The underlying reason for this is the quality of mentoring provided in the schools. The inspectors concluded that schoolbased trainers are often not adequately prepared for their role in implementing wide-ranging training programmes for trainee teachers. Despite this generally bleak picture, Ofsted concluded that 'the minority of cases of good practice in the training programmes and of high quality teaching by trainees indicate that the GTP can be an effective alternative route for training teachers'™. This article considers the strengths and weaknesses of the Graduate Teacher Programme, introduced in January 1998, and also reports on a small-scale project, funded by the Teacher Training Agency (TTA), the key objective of which was to strengthen the existing partnerships by improving the quality of school-based tutor training and continuous professional development of staff.

Where do drama teacher’s come from? Initial investigations into the formation of professional identity

The article reports on research into what may have influenced trainees on four post-graduate teacher training courses in England to become specialist drama teachers rather than pursue careers in the world of professional entertainment. It goes on to explore how the trainees regarded an understanding of performance, and an ability to both use and demonstrate performance techniques, as integral to their professional role. The subsequent discussion examines how a drama teacher’s professional identity may be seen as being made up of the three inter-connected elements, self, role and character. While all teaching may be regarded as a performing art, this paper suggests that, for the drama specialist, an understanding of what constitutes ‘performance’ has a particular importance. A conclusion drawn from the research is that recognising the place of performance in their practice may result in experienced teachers of drama regarding themselves as artists whose art is teaching drama.

W(h)ither phonological awareness? Literate trainee teachers’ lack of stable knowledge about the sound structure of words

Recent national developments in the teaching of literacy in the early years in the UK mean that teachers need to have explicit fluent knowledge of the sound structure of the language and its relationship to orthography in order to teach reading effectively. In this study, a group of 38 graduate trainee primary teachers were given a pencil and paper test of phonological awareness as part of a course on teaching literacy. Results from the pencil and paper test were used as the basis of teaching about the sound structure of words. The test was repeated six months later. The results showed that they did not use a consistent system for segmenting words into component sounds. Though there was substantial improvement on second testing, many trainees still did not show evidence that they had yet developed sufficient insights into the sound structure of words to be able to teach children about phonemes with certainty. It is argued that student teachers need substantial explicit training and practice in manipulating the sound structure of words to enable them to teach this aspect of language confidently.