Sunday, May 13, 2018

Playing With Poetry with A.F. Harrold

I went to the 'Playing With Poetry' session with A.F. Harrold at the Sydney Writers Festival last weekend and had a fabulous morning banging out some poetry in response to the provided prompts. The other joy, of course, was hearing the writing of the other attendees - one of whom was just 17 years old - what a talent!

I happily scooped the hours up for my Maintenance of Accreditation at Proficient (thank you SWF!) and thought some of the activities would be great in the classroom! If you see A.F. Harrold out and about in Australia - try to get your students to his workshops as he writes for young people and runs school workshops, in England.

Nursery Rhyme Lipograms
Writing an entire novel without the letter 'E' as Ernest Vincent Wright did with 'Gadsby,' would be quite a task, but a Nursery Rhyme? Way more feasible! Nursery Rhymes are not exactly common childhood fodder these days, so mind that not every student will be able to recall one - in the session we couldn't either so we did a quick brainstorm and shared ideas. Several of us ended up writing the same Nursery Rhyme but this was fun when it came to reading out our verse.  This got me thinking about why the Nursery Rhyme worked for this activity - they're short, have a simple rhyme scheme, and utilise techniques like repetition. Students could possibly use the chorus from a favourite song.

1. Choose a Nursery Rhyme.
2. Decide which letter or vowel could be removed. Encourage students to challenge themselves - if there is only one 'U' in the entire Nursery Rhyme, for example, well that's no fun!
3. Write the Nursery Rhyme - give students the option of sticking closely to the original in rhyme and rhythm or keep some aspects if possible.

The Proverbial 
Having fun with words can come from engaging with well known proverbs.

1. Choose a proverb.
2. Change one of the words.
3. Consider the impact of this change - perhaps laugh or consider the profoundness of the new 'proverb.'
4. Remember, don't put all of your enemies in the one basket.

'An Attempt at Exhausting a Place in...'
 An Attempt at Exhausting a Place in London is described as part documentary, part poetry, part catalogue recording the events of a weekend in Hackney. The focus of 'An Attempt at Exhausting a Place in London' is to capture the small details of the moment. Recording, memorialising, appreciating what we would probably not notice.

1. Choose a location for a 15-minute writing sprint.
2. Give students the option of writing free verse or perhaps begin with a list poem to locate students in the concrete detail before they move to abstraction. It maybe that they begin with a list, then edit with a focus on adding a simile and a metaphor or another rhetorical device.

The Story of a Button
The last activity in the workshop involved an object. We all closed our eyes and were handed an object. It was amazing just how much story was inspired by a little, tiny button.

1. To begin, hand each student a button. Ask them to consider how it feels, what it looks like, where it may have originated.
2. Zoom in on the button, describe it in one sentence.
3. Where is the button located? Move from concrete to the imagination. Write about what the button is attached to in three sentences.
4. Zoom out again, consider who is wearing the item or where the item is located. Write six sentences.

It was a fabulous morning all in all. It never ceases to amaze me how a blank page becomes a piece of creative work in just moments (first draft, obviously!). If you are interested in seeing A.F. Harrold's wonderful work, visit his website here.



Friday, May 11, 2018

Being an Intern at the Center for Teaching and Learning

Heart Mapping is a component of Atwell’s Writing Workshop Procedure that it just beautiful and seeing student heart maps on the walls at the Center for Teaching and Learning (CTL) was really powerful. At CTL, Atwell’s methods are utilised day in and day out, and they work. Students write confidently, they edit rigorously, and they confer regularly with their teachers and peers. 
 
I borrowed a few texts, including Georgia Heard's Heart Maps, at the end of my first day at CTL, just to truly inhabit my persona as ‘edugeek’ – I flew halfway around the world to learn from the students and teachers at the school so why not have a look at the Professional Library – these teachers are masters – I needed to know what they read!

Six Reasons for Heart Mapping: 
1.    Authentic writing comes from the heart. It gives writers a chance to connect with what is important to them, what they feel, think, and care deeply about.
2.    Heart mapping opens the door to literacy for all writers – including reluctant, struggling, and blocked writers. Those who feel unable to engage with conventional forms of writing, feel they haven’t the time, or confidence can reconnect through heart mapping.
3.    Heart maps can function as a practical touchstone for writers. A heart map provides the way back to what is essential in a writer’s life, breaking down blocks, and providing a concrete place to work from.
4.    Heart mapping taps into the power of visual learning. Visuals sing to the brain and the heart shape connects the writer to what is important to them on an emotional level.
5.    Heart mapping gives writers the freedom to explore and allows an idea or image room to grow. Using heart maps steers writers away from reductive and restrictive school genres (such as the five-paragraph essay). The map is about sparking joy in the writing process.
6.    Heart mapping connects us to our feelings and helps us empathise with others. Through writing our stories we learn that humans share experiences and ultimately our joys, pain, fear, and elation can be felt by those around us.

So how does Heard begin the process? By sharing her own. Thinking aloud whilst writing down what is most significant in the centre and then filling the heart with other things whilst sharing the stories with the writers about to go on their own heart mapping journey. 

‘Finding home is crucial to the act of writing. Begin here. With what you know. With the tales you’ve told a dozen times to friends or a spouse... With the map you’ve already made in your heart.’ Georgia Heard, 1995

A few extra ideas:
-      Use heart maps at the start of a genre study.
-      Writers can go back to their maps routinely to add extra topics, revise.

Heart Mapping Considerations:
What will the heart look like?
Where will the most significant inclusions be positioned?
What size font will be used and does this symbolise anything?
Will you draw, write, collage (letters/photographs/images etc.)?
What colours will be used and what do these symbolise?
Is one heart sufficient?
Will you include a key?

The book is filled with a range of templates for heart mapping exercises. See the 'Heart Mapping and Writing Presented by Georgia Heard' for an overview or visit Heinemann for a sample chapter. 

Further Reading:
Publisher: Heinemann, Portsmouth
ISBN: 978-0-325-00093-0

My Map Book - Sara Fanelli, 2001
Publisher: Harper Collins Publishers, New York
ISBN: 978-0-060-26455-0

Saturday, May 5, 2018

Investigating Ideology - Exploring Representation in Texts (Unit and Resources!)

Several years ago I wrote a unit of work and accompanying resources to support the implementation of the new NSW Stage 4 and Stage 5 English Syllabuses.  The unit, 'Investigating Ideology - Exploring Representation in Texts' was created for a Stage 4 class and utilises a range of texts including Anthony Browne's 'Voices in the Park,' Hayao Miyazaki's 'Howl's Moving Castle,' and the 'Papunya School Book of Country and History (Nadia Wheatley and Ken Searle).

Here is the rationale:

This unit is structured to elicit student success and to ensure these activities are scaffolded and models are provided. The concepts introduced throughout the course of study are demanding but in the spirit of providing opportunities for students to excel and ultimately engage with each of the texts explored. It is expected that students investigate the ideology and henceforth the politics of each text and grasp the power of composition to challenge and reinforce popular ideals. The key questions, “How are composers’ beliefs and values represented in texts?” and “How are texts used to represent the beliefs and values of the composer?” drive the unit.

The unit of work has been created to support and enrich a range of learners in the Stage 4 English classroom and give them an opportunity to work individually and in groups to develop autonomy and the ability to communicate effectively.

The material presented in this unit may be organised in numerous ways to suit a range of time frames and contexts. There is an abundance of activities provided to allow for teacher choice and each learning sequence can be adapted to suit a range of students. All three texts chosen for study give students an opportunity to develop their skills in analysing visual texts whilst exploring context, perspective and ideologies.


Here is the Unit Overview and Resources:
Investigating Ideology - Exploring Representation in Texts Unit Overview
Investigating Ideology - Exploring Representation in Texts Resources
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