May 23rd, 2013

5/23/13

In Class:
Journal--  Reflect on the syllabus agreement you signed at the beginning of the block. Did you fulfill your agreement? Did you fulfill your own expectations of yourself?

Course surveys.

Reviewed final poetic devices: conceit, symbol, motif, allusion, meter, and apostrophe. Students completed examples on the worksheet if they hadn't already.

With remaining time, students made up any missing work or missing journals.

Exit Ticket: Verbally, around the planters bearing our seeds from Day 1, each student reflected on his or her growth as a writer and performance in this class.

Homework:
Just like your seeds, you--as a poet, student, and person--will have the opportunity to either grow and thrive or wither. Over break, in upcoming blocks, and belong, challenge yourself to cultivate your skills, maintain healthy habits, and move forward with life. Write daily, and be a poet in every aspect of life!

May 21st, 2013

5/21/13

In Class:
Journal--  Identify and describe the most important people in your life.

Poetry for the sake of poetry: "Mr. Notme" by Joseph LMS Green.

Instruction on poetic devices tone and mood, especially in regards to the transaction amongst authors and readers:

Students worked independently on final portfolios for the remainder of class time.

Exit Ticket: What has been your biggest educational gain this block?

Homework:
Finish and submit portfolios!
Catch up on missing work or journals.

May 16th, 2013

5/16/13

In Class:
Journal--  Write a poem in four-line stanzas about the worst class you’ve ever taken.

In the same way that poetry and art speak to social issues and broad audiences in order to make a difference, as Baca informs us, poems also speak to one another. On a grand scale, poetry tends to be a part of a universal conversation about what it means to be a human being, or how each of us defines the human experience. In a more obvious way, though, some poems speak directly to other poems. 

As a class, we read “Passionate Shepherd to His Love” by Christopher Marlowe (1599), “Nymph’s Reply to the Shepherd” by Sir Walter Raleigh (1600), and “Love Under the Republicans (Or Democrats)” by Ogden Nash (1930) and contrasted the different works:

Then, we compared two spoken word poems, "the mother" by Gwendolyn Brooks and "the father" by Shane Abrams.

Exit ticket: Approximately what percentage of your portfolio have you completed?

Homework:
Work on your portfolio! Due next Tuesday.

May 14th, 2013

5/14/13

In Class:
Journal--  Respond to the following quote:
“Poetry’s mission is to subvert, to question, to challenge, provoke, to flail one’s vulnerability and voice in the marvelous whirlwind of poetry’s awe, flagging at the horns of the raging beast that is society’s gluttonous comfort ….” - Jimmy Santiago Baca 

Poetry for the sake of poetry: "Theme for English B" by Langston Hughes.

Discussed background of legislation like SB 1070 in Arizona. Screened "Tuscon's Mexican-American Studies Ban" from The Daily Show with Jon Stewart, then read "So Mexicans are Taking Jobs from Americans?" (Jimmy Santiago Baca), "The Physics of Being Mexican American (Quantum Mexicanics)" (Ralph Haskins), and "Legal Alien" (Pat Mora). Discussed the use of poetry as a tool for dismantling systems of social oppression, specifically in the framework of the following questions:
      - What was the social issue that inspired this poem?
      - Who do you think is the target audience?
      - What effect did this have on you? What effect do you think it would have on the target audience?
      - What approach/techniques does the author use to create this effect

Independently, each student read background information on Do Not Resuscitate orders, euthanasia, and Japanese internment camps, followed by "Do Not Resuscitate" by Brenda Butka and "In Response to Executive Order 1066" by Dwight Okita. Each student then wrote a brief paragraph reflecting on either of the poems and answering the four above questions.

With remaining time, students worked independently on missing work or final portfolios.

Exit Ticket: Reflect briefly on the Poetry Jam.

Homework:
Finish your paragraph on social justice poetry.
Work on finals! Due next Tuesday.
Catch up on any missing work.

May 9th, 2013

5/9/13

In Class:
Journal--  Choose a random word of seven or more letters from the dictionary; use this word to write an acrostic poem.

Housekeeping: Feedback on extra credit offerings.

Poetry for the sake of poetry: "Legacies" by Nikki Giovanni.

Instruction and discussion of performance technique of pace. Students practiced using their acrostics from journal entries. 

"Contingency Plan" by Omar Holmon.

Workshop rehearsal for Poetry Jam.

Exit Ticket: What are three things you can control about your poetic performance?

Homework:
Practice for tomorrow!

May 7th, 2013

5/7/13

In Class:
Journal--  Free write using the following quote as a jumping-off point: "Enjoy every sandwich." - Warren Zevon

Transplanted seeds into planters outside the school front door.

Students worked independently on poetry for Friday's Poetry Jam or on their final portfolios.



Exit Ticket: Describe the first teacher you remember.


Homework:
Polish, revise, and practice poetry for the Poetry Jam!

May 2nd, 2013

5/2/13

In Class:
Journal--  Free-write, but start here.

Reminder: Upcoming extra credit opportunities!  
Attend 2 of the 3 upcoming events to earn 40 points extra credit:  
- Thursday, May 2nd, after school at Boulder Prep -- Café Cultura poetry and performance workshop.  
- Friday, May 3rd, during Life Skills rotations at Boulder Prep -- writers' workshops led by Shane, Lily, and guest Lily Krenza.
- Monday, May 6th, 4-10 PM in downtown Boulder -- Laughing Goat poetry open mic (dinner and activities will be provided by Prep).

Poetry for the sake of poetry: "True Love" by Sharon Olds.

Reviewed and discussed the assignment and expectations for the final project (see separate post).

Students independently wrote, revised, and polished potential Jam poems. Remember, the jam is one week from tomorrow!

Homework:
Prepare and practice one poem for Tuesday (pre-Jam). Consider performance techniques.

Final Portfolio Assignment Sheet

Performance Poetry Portfolio

Due Monday, May 20^th, 2013

As the final assessment for Poetry and Poetic Speech, you will be creating a cumulative portfolio. This portfolio will reflect your experiences and growth over the course of the unit: it will show how this course has affected you.

Assignment: In a binder or folder, you will organize 12 documents which you have gathered during the course.[*] These include (but are not limited to):

·       ‘Final’ drafts of any written work

·       Rough drafts of written works

·       One of your works that you love

·       One of your works that you hate

·       Poems you explicated/analyzed

·       Poems you read which particularly moved you or inspired you

·       Reflections or journal entries

·       Notes

·       Peers’ responses to your work

·       Letters, free-writes, phone messages, text messages, e-mails, Facebook posts, or anything else that contributes to your poetic artistic process

I recommend that you include as much variety as possible—as many different documents as you have. Additionally, you are encouraged to include drafts which demonstrate the progression of your work.

Not everything you include in your portfolio should be of “final draft” quality; in fact, it is better to include marked-up, “rough draft” quality documents. Documents like these better demonstrate that writing is a process, not a product. You will not be graded on the quality of exhibits you include, but rather the relevance of the documents in reflecting your writing process.

Also, you must include the following:

·       A title page with your name and date.

·       A brief reflection on each document. Write one paragraph (50-100 words) as an introduction to each document. Explain how the document demonstrates your growth as a writer, your exposure to new things, or your developing conceptualization of writing. Describe the assignment’s influence on your learning and your process.

·       A brief conclusion (200-250 words) demonstrating how your work this block (specifically, work which you included in the portfolio) functions together to contribute to your broader relationship with writing. Step back and evaluate how you have grown; then, describe that growth.

You will be graded based on the following standards (see the rubric on the following page):

·       Presentation

·       Content: Choice of works

·       Metacognitive reflections

·       Conclusion/self-evaluation

Tips for success on this project:

·       Keep everything! Drafts, journals, assignments, anything. The more you have to work with, the better your portfolio selections will be.

·       Do not wait until the last weekend before this is due. This is an ongoing process.

·       Regardless of what you accomplish day-to-day, try to think about this project and your approach whenever possible.

---

[*] This figure does not include documents which the instructor requests be included in the final portfolio.

April 30th, 2013

4/30/13

In Class:
Journal--  Using only monosyllabic words, tell a story beginning with one of the following phrases: 
- “The last time I saw her…” 
- “When the bomb went off…,” 
     or
- “He told me not to….” 

Notes on upcoming extra credit opportunities!
Attend 2 of the 3 upcoming events to earn 40 points extra credit:
- Thursday, May 2nd, after school at Boulder Prep -- Café Cultura poetry and performance workshop.
- Friday, May 3rd, during Life Skills rotations at Boulder Prep -- writers' workshops led by Shane, Lily, and guest Lily Krenza.
- Monday, May 6th, 4-10 PM in downtown Boulder -- Laughing Goat poetry open mic (dinner and activities will be provided by Prep).

In pairs, students researched definitions and examples of assigned poetic devices, then taught their devices to the rest of the class. Terms included were: personification, hyperbole, internal rhyme, end-rhyme, consonance, onomatopoeia, assonance, cacophony, stanza, couplet, and enjambment. If you missed class today, please gather these definitions for the Poetic Devices worksheet from your peers.

Independently, each student composed a short poem according to the following guidelines:
Line 1) Write a line describing a fear of yours.
Line 2) Write a line of at least 7 words that uses a simile to explain this fear.
Line 3 & 4) Write two lines that use either internal rhyme or end-rhyme; in these lines, connect your identified fear to one of the following intangible ideas--'love,' 'education,' or 'freedom.'
Line 5) Write a line that includes both a proper noun and personification.
Line 6) Write a line that uses consonance and/or alliteration.

Exit ticket: Describe something you've learned outside of school in the past week.

Homework:
Revise your 6 line poem by Tuesday.
Keep polishing and practicing Jam poems.
Fill two more pages of your notebook.
Catch up on any missing work.

April 26th, 2013

4/26/13

In Class:
Journal--  Would you rather be constantly surrounded by the people you love, or alone at all times? Why?

Poetry for the sake of poetry: "How to Be Alone" by Tanya Davis.

Refreshed on performance techniques covered so far, then applied them to poems students brought in for homework: first, each student read the poem as "flatly" as possible; then, each student read the poem with marked dynamics and breathing points.

Exit Ticket: "If I do any one thing to be more successful in the second half of this block, it will be..."

Homework:
Revise, polish, and practice performing one poem that you are considering for the Poetry Jam. Catch up on any missing work.

April 25th, 2013

4/27/13

In Class:
Journal--  Describe one moment in your life that you've felt inadequate.

Poetry for the sake of poetry: "Flatland" by Sam Cook.

Reviewed the use of breath in performance, then studied the use of dynamic expression in performance, focusing on volume (ppp, pp, p, mp, mf, f, ff, fff), crescendo & decrescendo (< & >), and staccato & legato articulation. Instructor performed "For the Girl Who Reads Slam Poetry" to identify use of dynamics.

Students worked independently by catching up on missing work and revising poems for performance.

Exit Ticket: What is the next step you need to complete to prepare for the Poetry Jam (May 10th)?

Homework:
Revise, polish, and practice performing one poem that you are considering for the Poetry Jam.
Catch up on any missing work.

April 23rd, 2013

4/23/13

School canceled due to poor weather and driving conditions.

Consequently, Poetry and Poetic Speech will meet on Thursday (9:00-10:30) and Friday (during the first rotation of Life Skills).


Homework:
Review potential performance poems for Poetry Jam on May 10th.

April 18th, 2013

4/18/13

In Class:
Journal--  What skill(s) of yours do you value the most?

Discussion and definition of theme by contrasting two poems:

Thirty days have September,
April, June, and November,
All the rest have thirty-one,
Save February,
To which we assign
Twenty-eight days,
Until the leap year gives us
Twenty-nine.

                           vs.

"Somebody Has To" by Shel Silverstein

Somebody has to go polish the stars,
They’re looking a little bit dull.
Somebody has to go polish the stars,
For the eagles and starlings and gulls
Have all been complaining they’re tarnished and worn,
They say they want new ones we cannot afford.
So please get your rags
And your polishing jars,
Somebody has to go polish the stars. 

 
Used the analogy of an iceberg to conceptualize theme.

Explicated "Those Winter Sundays" by Robert Hayden, specifically identifying thematic construction.

 Students independently "tended seeds."

Exit Ticket: Where was the last place you experienced love, rage, or bliss?


Homework:
Find a poem of someone else's to bring to class on Tuesday.
By Tuesday, April 23rd, identify three poems that you could potentially perform at the Poetry Jam.

April 16th, 2013

4/16/13

In Class:
Journal--  Using haiku form, describe something that grows.

Poetry for the sake of poetry: "Summer Solstice" by Sharon Olds.

Refresher on the structure and use of metaphors. Then, using other students' blind suggestions, each student wrote a brief poem using a random article of clothing to convey a random emotion. For example, shoes and grief:
    The black leather seemed to constrict my arches like shackles
    As I staggered through the procession.
    That overwhelming stench of shoe-polish
    Assailed my nostrils with a heavy anguish.
    Black veils swept through the gathering. 
    The eulogy is devoid of meaning: 
    I bear the weight of her confession,
    And my shoes groan beneath its pressure.

Continuing with the seed metaphor from the first day of class, students sowed and tended their seeds using the following prompts:

    - “Proofs” by Richard Rodriguez
    - Snowfall outside the window
    - Ambient noise: Thunderstorm, then Crowded Pub.
    - Photo 1
    - Photo 2
    - Photo 3
    - Photo 4

Independently, students free-wrote, wrote, drew, or otherwise tended their seeds. 

Exit Ticket: Doodle an artistic interpretation of something you look forward to.

Homework:
Fill another two pages of your writing notebook.
By Tuesday, April 23rd, identify three poems that you could potentially perform at the Poetry Jam.

April 11th, 2013

4/11/13

In Class:
Journal--  Describe an addiction you have.

Discussed the concept of 'inventing' a voice in writing, as opposed to 'finding' or 'translating' using Nancy Mairs' essay "On Finding a Voice."

Practiced the performance technique of breathing by focusing on the significance of breathing, practicing using breath to convey emotion, and implementing stylistic breathing for performance.

Defined and discussed metaphors and their use in communication.

Exit Ticket: Use a metaphor to describe time.

Homework:
Fill three pages of your writing notebook by Tuesday.

April 9th, 2013

4/9/13

In Class:
Journal--  Write a narrative from the perspective of the last _______________ on Earth. [Choose whatever noun you please.]

Poetry for the sake of poetry: "To This Day" by Shane Koyczan.

Revisited imagery by explicating "Harlem" and "Juke Box Love Song" by Langston Hughes, specifically focusing on the use of imagery and sensory language.

As a class, we visually explicated a photo using the five senses. Independently, each student explicated his or her own photo, then began writing a poem which integrates some of the noted sensory perceptions.

Homework:
Finish the imagery poem you began in class.
Read "Nancy Mairs on Finding a Voice."
Consider the significance of breathing.

April 4th, 2013

4/4/13

In Class:
Journal--  Respond to the following quotes:
"You can't wait for inspiration. You have to go after it with a club." - Jack London
"Genius is one percent inspiration and ninety-nine percent perspiration." - Thomas Edison

Discussed the concept of 'muse' vs. hard work as an artist.
Screened Sherman Alexie interview (12:59 - 16:03) and reviewed Ernest Hemingway's 99% idea: "I write one page of masterpiece to ninety-nine pages of shit. I try to put the shit in the wastebasket."

Found Poetry exercise using "Four Secretaries" by Ted Kooser, "The Lady in the Pink Mustang" by Louise Erdrich, and "My Papa's Waltz" by Theodore Roethke:
   1) Choose four lines (4 or more words) from selected poems.
   2) Partner up!
   3) Using all of your group's found lines and four original lines composed by your group, weave together one poem per group.

Defined imagery and practiced identifying it using: the scent of lemongrass hand lotion, the taste of a Hershey Kiss, the sound of "Never There" by Cake, and the texture of aluminum foil, sandpaper, and cloth.

Exit Ticket: Describe one place where you can find inspiration.

Homework:
Finalize your group's found poem.
Bring a photo on Tuesday.
Decorate your notebook by Tuesday.

April 2nd, 2013

4/2/13

In Class:
Instructor performed original slam poem.

Journal--   Picture one location in which you spent a significant amount of time during your break. Describe everything about this location.

Reviewed syllabus, class expectations, on-going assignments, and course structure.

Discussed the purpose of writing notebooks using the metaphor of gardens:
-->"…[J]ot it all down. Use your notebook as a kind of seedbed. Once you’ve learned to recognize the seeds, you’ll probably have more than you can use. With a little tending—sketching, adding, changing, seeing what moves you—some will sprout. Some will grow. Some will even make it to the harvest. How do you choose among them all? That’s simple. Eventually, one idea, properly tended, becomes irresistible and fills the mind." -Stephen Koch, The Modern Library Writer's Workshop
Read "How Planting a Seed Can Change Your Life" by Brianne Burrows.
Planted annual wildflower seeds to represent the beginning of the artistic writing process.

Reviewed on-going Poetic Devices assignment.

Homework:
Decorate your writing notebook by Tuesday.
Bring a photo to class next Tuesday.

Syllabus - Poetry and Poetic Speech

Poetry and Poetic Speech

April 2^nd – May 23^rd, 2013

TTh 9:00 - 10:30, Room 1

http://boulderpreppoetry.blogspot.com/

Shane Abrams

shaneabrams@boulderprep.org

Course Texts

Note: the vast majority of course texts will be provided in handouts by the instructor or provided by the students themselves; a folder, binder, or other organizational system is highly recommended.

The following blog will also serve as a resource for disseminating materials and texts: 

                  http://boulderpreppoetry.blogspot.com/

Course Description

This course is intended to provide students a foundation in poetry and poetic performance through the study of written and spoken word poetry. Each student will extend his or her current knowledge of poetry, no matter how broad or narrow. Additionally, students will participate in frequent exercises of workshop and performance in order to develop their appreciation of poetry through a social lens. Each student will become more intimately familiar with poetry and poetic speech through the exploration of writing, speech, and music composed by established artists, by his or her peers, and by him or herself.

Learning Outcomes and Essential Questions

During this course, students will develop the ability to…

·       engage in the analysis, discussion, and interpretation of both written and spoken poetry.

·       analyze and appreciate poetry affectively.

·       recognize and articulate the relevance of poetry in the culture of academia and in the broader global community.

·       write, revise, and share original works of poetry.

·       provide relevant and constructive feedback in a peer writing workshop environment.

We will aim to explore—perhaps even answer—some of the following questions:

·       How do poets use language to pursue personal and social truth?

·       How are reading, writing, speech, and listening related and independent?

·       What importance does poetry hold in historical and contemporary society?

·       What are the benefits to group involvement and interaction in artistic expression?

Outcomes Assessment

The following assignments will be used to assess students’ progress toward learning outcomes: participation & attendance (graded daily); daily in-class journals (graded twice per block); participation in Boulder Prep’s Annual Poetry Jam; in-class and out-of-class assignments; and a final portfolio. Additionally, other artistic or academic assignments will be collected and assessed when the instructor sees appropriate.

Classroom Policy – Grading, Attendance, and Comportment

Grades for Poetry and Poetic Speech will be calculated on a points-based scale; i.e., each assignment, including long-term projects and daily participation grades, will be valued at a certain number of points possible. Over the 8-week course, points possible will amount to roughly 800-1000 points. At any time, a student may request his or her grade, and I will do my best to provide a response in a timely fashion.

Extra credit will not be provided, barring unforeseen, extenuating circumstances; therefore, students are expected to complete each and every assignment to the best of their respective abilities. Opportunity for success will not be withheld: each student will have the chance to excel, in terms of grades and personal growth. However, the burden lies upon the student to optimize these opportunities.

Students should attend all classes as possible. There will be only 16 sessions of Poetry and Poetic Speech; each absence is detrimental to learning potential. I will not deduct points for absences, whether they are excused or unexcused. However, students are always responsible for information, work, and cumulative assignments which they miss when absent: missing multiple classes will unforgivingly hinder a student’s academic success. If a student misses class, I advise visiting the course blog – http://boulderpreppoetry.blogspot.com/ — to see what she or he missed and what she or he needs in order to catch up. If you know in advance that you will miss a class, please consult with me beforehand.

Students are expected to arrive to class on time. This means that each student should be sitting at a desk with all necessary materials, including any assigned reading for the class, ready to begin working at 9:00. This does not mean walking from the Commons to the classroom at 9:00; this does not mean arriving at 8:59 and leaving to use the bathroom until 9:05. In regards to breaks: there will be no out-of-class breaks. You should think of yourselves as adults during this class: leave the classroom only when you must and only when it is appropriate. At the maximum, only one student should be out of the classroom at any given time.

My classroom is a place for personal growth, be it intellectual, emotional, or otherwise. I expect all students to help me maintain an environment conducive to such growth. All students are entitled to the right to improve and evolve, and no person should infringe upon this right in any manner. My classroom will be a safe and respectful environment for my students to exercise their right to learn.

Course Specific Grades:

Daily participation – 10 pts. / day

Daily journals – 160 pts.

General assignments – approx. 250 pts.

In-class activities – approx. 250 pts.

Participation in Poetry Jam – 200 pts.

Final portfolio – 300 pts.

                  * see particular assignment sheets for specific breakdown and expectations

Academic Honesty

Plagiarism and cheating, whether intentional or unintentional, shall not be tolerated. Every student is expected to follow any and all codes of academic honesty endorsed by Boulder Preparatory High School.

Electronic Devices

In order to facilitate the development of a respectful and focused classroom environment, students are asked to refrain from the use of cell phones and other unnecessary and/or distracting devices during class time. When you are in class, regardless of the nature of the activity, your cell phone should be put away, your music device shut off, and any other devices out of sight. Devices that seem to be distracting any student will be impounded for the remainder of the period.

Materials Needed

Please bring these things to class every day:

Writing materials (pen/pencil, paper)

Course texts (handouts, assignments, etc.)

Writing notebooks

Recommended: Binder, folder, or other organizational system for hand-out readings

Approximate Schedule of Study and Curriculum

This schedule is a rough estimate and is subject to change.

Week one (4/2 - 4/4) –	Introduction to poetic writing, speech, listening, and reading Inspiration, imagery, and word choice
Week two (4/9 - 4/11) –	Writing and re-writing Revision and metaphorical devices
Week three (4/16 - 4/18) –	Inspiration, imitation, and symbolism Metaphorical devices and poetic response
Week four (4/23 - 4/25) –	Poetry for social influence
Week five (4/30 - 5/2) –	Focus on performance technique and style Performance and revision
Week six (5/7 - 5/9) –	Jam preparation May 10th  – Poetry Jam Performance and revision
Week seven (5/14 - 5/16) –	Independent writing and portfolio compilation
Week eight (5/21 - 5/23) –	In-class portfolio work

Miscellaneous

I reserve the right to amend or alter this syllabus; please note that any changes are made in an effort to create the best possible academic environment. I will notify students of any such changes as promptly as possible.

I wholeheartedly welcome feedback. Please do not hesitate to provide response to my teaching practices, assignments, etc.—but please provide this feedback while class is not in session.

------------------------------------------------------------------------------------------------------------------------------------------

[Please detach and return this section.]

I, _______________________________, hereby acknowledge that I have received and reviewed this

(print name)

syllabus. Any questions or concerns that have arisen have been addressed adequately.

I recognize that I am a student: I am capable of anything I encounter in this course, though it may be challenging—and it should be challenging. I will not state that I “can’t” do something, but that I “can’t yet.” I will ask for help when I need it, whether assistance is from Shane, from my peers, or from another responsible individual.

I will contribute to a classroom environment which is healthy, fun, welcoming, intellectual, emotional, and safe, among other things.

I will respect everyone’s educational opportunities; I will respect our building; I will respect my peers’ and instructors’ belongings; I will respect everyone’s right to make amends.

I will be the best person—intellectually, socially, and otherwise—that I can be.

_____________________________________                                              __________________

    (signature)                                                                                                                                                   (date)