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TEACHER RESOURCE GUIDE: SPOKEN WORD FIELD TRIP

The lessons and activities in this guide support the 6-12 Academic Content Standards (2002) and the Common Core Standards (2010) which ensure all students are college and career ready. The College and Career Readiness (CCR) Pre-Program Standards in Reading, Writing, Speaking and Listening, Overall Program Objectives & Standards and Language define general, cross-disciplinary literacy Alignment expectations that must be met for students to be prepared to enter college and workforce training programs ready to Writing Activities succeed. History of Slam Poetry 21st century skills of creativity, critical thinking and Youth Slam Movement collaboration are embedded in drama. Theater is a natural vehicle to engage students. Seeing live theatre encourages Performance Activities students to read, develop critical and creative thinking and be curious about the world around them. Post-Program This teacher resource guide includes background Types of Slam Competitions information, questions and activities that can stand alone or How to Hold a School Poetry Slam work as building blocks toward the creation of a complete unit of classroom work. Resources

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OVERALL PROGRAM OBJECTIVES & STANDARDS ALIGNMENT Students will: Common Core State Standards for Develop a concept, produce written work and apply a wide range of strategies to interpret and evaluate written work; English Language Arts Discover how the intention of gestures adds a deeper College and Career Readiness Anchor Standards for meaning to telling a story to a live audience; Writing (6-12) Integrate verbal and non-verbal communication to produce • Text Types and Purposes a cohesive piece of work with impact and purpose; 3. Write narratives to develop real or imagined Take risks, engage in literate behaviors and participate in experiences or events using effective technique, a creative, reflective community. well-chosen details, and well-structured event sequences. • Production and Distribution of Writing Ohio Department of Education 4. Produce clear and coherent writing in which the Academic Content Standards development, organization, and style are appropriate English Language Arts Benchmarks to task, purpose, and audience. • Writing Processes (8-10) 5. Develop and strengthen writing as needed by A. Formulate writing ideas and identify a topic planning, revising, editing, rewriting, or trying a new appropriate to the purpose and audience. approach. B. Determine the usefulness of organizers and apply appropriate pre-writing tasks. College and Career Readiness Anchor Standards for D. Edit to improve sentence fluency, grammar and Speaking and Listening (6-12) usage. • Comprehension and Collaboration • Writing Processes (11-12) 1. Prepare for and participate effectively in a range A. Formulate writing ideas and identify a topic of conversations and collaborations with diverse appropriate to the purpose and audience. partners, building on others’ ideas and expressing C. Use a variety of strategies to revise content, their own clearly and persuasively. organization and style, and to improve word choice, • Presentation of Knowledge and Ideas sentence variety, clarity and consistency of writing. 6. Adapt speech to a variety of contexts and • Communication: Oral and Visual (8-10) communicative tasks, demonstrating command of D. Demonstrate an understanding of effective formal English when indicated or appropriate. speaking strategies by selecting appropriate language and adjusting presentation techniques. 21st Century Skills • Communication: Oral and Visual (11-12) C. Select and use effective speaking strategies for a Learning and Innovation Skills variety of audiences, situations and purposes. • Communication - Using spoken, written or non-verbal language to obtain information or express ideas and arguments • Collaboration - Interacting effectively with a diverse range of people to come up with new ways of thinking • Creativity - The capacity to make or express things that didn’t exist before or to solve problems in new ways Life and Career Skills • Productivity & Accountability - Demonstrating diligence and a positive work ethic. • Social & Cross-Cultural Skills - Working appropriately and productively with others Teacher Resource Guide playhousesquare.org/eduresources

WRITING ACTIVITIES What’s in a Name? Community Journals Students create a poet name that connects to them on a Students express themselves through the creative process personal level and expresses who they are as individuals. of journaling.

1. After discussing the history of slam poetry and the 1. Introduce the idea of sustained silent writing. upcoming Spoken Word Field Trip, tell students they 2. Tell students, at the beginning of each class period, will each create a poet name that will identify them they have the option of writing in their own private and be used during the following activities. journal or in one of several Community Journals. 2. Provide students with several examples of poet names 3. Community Journals are available during the first and discuss what each of the names mean to the ten minutes of class during sustained silent writing. students. Here are several examples: Students determine if they would like to add to a Phoenix journal and to which one. They are not required to D’Nile- make daily journal entries. the poet -i- 4. Responses to what others write must be constructive Storm and positive in nature. Entries must be signed and Mental Graffiti dated. Uninvited rep life 5. Separate community journals are created by topic. Topic ideas include: 3. Have students create a short list of adjectives that Feelings describe who they are as an individual poet. Daydreams 4. Students should be creative and have fun! I Remember . . . Favorite Things 5. Have each student make a nametag and use their Hot Topics poet names for the remainder of the activities and Questions I Can’t Answer during the Spoken Word Field Trip. Gazing into the Future 6. Ask students to re-introduce themselves to the class. Inside My Mind Inside My Heart 7. Option: Have students perform a physical action that Inside My Soul coincides with their name. For example, D’Nile may Other People, Other Lives say, “My name is D’Nile because I flow like the river in Faraway Places Egypt” as he moves his arm like a river flowing. The Soundtrack of My Life Random Poetry Poetic Devices 6. Struggling writers will benefit from choosing to write Students demonstrate knowledge of poetic devices by using and respond in classroom Community Journals. them in the creation of original poems. Adapted from an idea presented through The National The following activities incorporate the use of poetic devices Writing Project, Kent State University, Dr. Diana Snyder, including alliteration, descriptive writing, simile, metaphor, Creative Writing Teacher, Cleveland School of the Arts. personification, repetition and imagery. A student handout may be found in the Resource section of this guide. Teacher Resource Guide playhousesquare.org/eduresources

“I Am” Poem Add a Line Students formulate “I Am” poems based on personal Students work as a group to create a shared poem. characteristics. 1. Divide the class into two groups and have each 1. An “I Am” Poem is a great introduction to hesitant group sit in a circle. writers. It allows students to write from what they 2. Write the following opening line on the board, know. “Words create worlds.” 2. “I Am” poems are written in three stanzas. 3. Distribute one piece of paper to each group with the 3. Provide students with the following format: opening line written across the top. I am (2 special characteristics you have) 4. In silence, the first student adds a line to the poem I wonder (something that makes you curious) followed by each student thereafter. I see (an imaginary sight) I want (a wish) 5. Once the poem has come full circle, a shared poem I am (repeat the first line of the poem) has been created. I pretend (something you pretend to do) 6. Have both groups share their poem with each author I feel (a feeling) reading their contribution. I touch (something you can actually touch) 7. Reflection: How did it feel to build the poem as a I worry (something that bothers/scares you) group? I cry (something that makes you sad) I am (repeat the first line of the poem) I understand (something you know is true) Photo Write I believe (something you believe in) Students use precise words, details and sensory language I dream (a dream you have) to convey a vivid picture of an experience, setting, event or I hope (something you hope for) character. I am (repeat the first line of the poem) 1. Choose a photograph from a magazine such as 4. Students may share their poem or have another National Geographic or Time. You may also choose a student read the poem aloud to the class. photograph that is connected to a theme or topic of 5. Extension: Create an anthology of student poems. current study or interest. 2. Have students closely examine the photograph and focus on using their senses to experience the scene.

3. Provide students 10-20-minutes to free write. Stress the use of descriptive words based on their senses. 4. Next, ask students to use those words to create an original poem conveying details of the photograph. 5. Reflection: How does using your five senses enhance your writing? Teacher Resource Guide playhousesquare.org/eduresources

Building a Poem Students create a poem using random nouns, adjectives and verbs.

1. Based on the number of students in your class, prepare three stacks of cards (noun, adjective, verb). For example, if you have 30 students, you will need 30 different nouns, 30 adjectives and 30 verbs. 2. Next, separate the three stacks. 3. Shuffle each deck and instruct students to pick one card from each of the three stacks. 4. Students create a poem based on their three unique cards. 5. You may choose to provide a structure to the poem such as haiku, sonnet, acrostic poem or allow students to write in free verse. Magazine Mayhem Students formulate poems using words from magazines 6. Extension: Have students choose two cards from illustrating visual emphasis on chosen words. each stack and incorporate all six words into one poem. 1. Provide students with an array of magazines. 2. Explain that they will create an original poem using only Mad Lib Poem words found in the magazines. Pairs of students create original poems based on the word game Mad Libs. 3. They may cut out words that are larger, in bold, or a bright color to place a certain emphasis on that word Mad Libs (from ad lib, a spontaneous improvisation) is a just as advertisers do to grab our attention. phrasal template word game where one player prompts another for a list of words to substitute for blanks in a story, 4. Using scissors, construction paper and glue, students usually with funny results. rearrange the words to design their poem.

Source: http://en.wikipedia.org/wiki/Mad_Libs 5. Once completed, students recite another student’s poem placing vocal emphasis where indicated by visual emphasis. 1. Bring in a Mad Lib game and explain the premise with your students. 6. Extension: Ask several students to recite the same poem. Observe how they place emphasis on different 2. Divide students into pairs. words or in a different manner. Discuss the idea of 3. Provide each pair with a sample Mad Lib. interpretation. 4. Working together, students complete the template creating interesting and funny poems. 5. Ask students to share their new creations with the class. 6. Extension: Have students create a Mad Lib template of their own. Teacher Resource Guide playhousesquare.org/eduresources

Emotional Workshop Warm-Up Students write a five-line poem based on their emotions. Students develop plasticity in the facial muscles and tongue. 1. The activity is designed to get students’ creativity flowing by using what they know – their emotions. 1. Have students stand in a circle. 2. Provide students with the following five-line format: 2. One student begins by making the craziest face possible. The first line of the poem involves an emotion: sadness, anger, confusion, joy. 3. He/She “passes” this face to the next person in the circle who takes the face (repeats it) and changes it The second line describes the emotion as a color. For to the extreme opposite. example, a student might describe anger as “read as a stop sign;” happiness might be “as pink as a puppy’s tongue.” 4. The next person “passes” this face to the subsequent person who in turn changes it to yet The third line starts with “It happens when…” For another extreme opposite. example, “Anger happens when I’m told to get up in the morning.” “Confusion happens when I have a test 5. This process continues throughout the circle. but don’t do my homework.” 6. Extension: Have students shake each arm, hand, leg and foot individually to a count of eight. The fourth line begins with “It sounds like…” For example, “Sadness sounds like a kitten left out in the rain.” The last line of the poem repeats the original emotion. Tongue Twisters 3. Review the format and share an example of your own. Students repeat tongue twisters to practice diction.

4. Provide students with ample time to complete their 1. Standing in a circle, each student offers a tongue poems and share with the class. twister to the whole group (see box for examples). 5. Allow students to illustrate their poems. This will 2. The whole group repeats the phrase in unison. enhance the experience and allow them to visualize their writing. 3. You will notice the group will need to slow their speech in order to articulate all sounds clearly. Source: Elizabeth Thomas, UpWords Poetry 4. Practice speaking slowly as a group. 5. As the group increases their diction, increase the Performance Activities rate of speed. Students adapt speech to a variety of contexts and communicative tasks. Tongue Twisters for Diction The following activities incorporate the use of P.I.P.E.S. . Unique New York (projection, inflection pacing, eye contact, and stance). A . Babbling baby Bobby student handout may be found in the Resource section of . Don didn’t do the difficult dangerous deeds this guide. . Thick thistles throbbed in Thelma Thimble’s thumb . Few folks find the fine flavor . Popular people, people popular places . Suzy Sampson is surrounded by her sousaphone Teacher Resource Guide playhousesquare.org/eduresources

Vocal Exercise Focus Please Students effectively use their breath when speaking. Students adapt eye contact and voice projection as they perform a poem. 1. Many students hold their breath when they are nervous. Have students stand up straight and take a 1. Pair students in twos. deep breath. 2. Have each student choose a short poem, preferably 2. Pointing their index finger, have students pull back one they can easily memorize. their arm so the index finger is close to their ear. 3. Ask one pair to stand 20 feet apart facing one 3. Keeping their arm level, have students say a short another. sentence, such as “Mary had a little lamb,” as their index finger slowly points forward resulting with the 4. On your count, each student begins to deliver his/ right index finger pointing directly straight in front of her poem at the same time each reciting a different them as they complete the sentence. poem. 4. The index finger should stop simultaneously with 5. Both students continually repeat their poem until the period in the sentence and the arm should stay the end of the activity. level. 6. At different points, the teachers calls out “CLOSER!” 5. Demonstrate the proper way to complete the at which time each student takes one giant step exercise. closer to the other maintaining eye contact and continuing to perform their poem. 6. Now demonstrate the improper ways including running out of breath before finishing the sentence, 7. Reflection: What was the most difficult part of this speeding up, pointing low to the ground and activity? What adjustments can be made to maintain pointing upward which will sound similar to asking a better eye contact, focus and voice projection? question.

Zip Zap Zop Students accept a phrase to maintain focus and pacing.

1. Starting in a circle, the teacher begins by making eye contact, pointing at a student and saying, “Zip.” 2. That person in turn looks at someone else, points and says “Zap.” 3. That person in turn looks at someone else, points and says “Zop.” 4. Continue around the circle. 5. As students improve, pick up the pace! Teacher Resource Guide playhousesquare.org/eduresources

Pre-Program HISTORY OF SLAM POETRY What is slam poetry? Slam poetry is a form of performance poetry that occurs within a competitive poetry event, called a “slam,” at which poets perform their own poems that are “judged” on a numeric scale by randomly picked members of the audience. Slam poetry gives audience members the power to become part of each poem’s presence, thus breaking down the barriers between poet/performer, critic and audience.

Poetic dueling has existed since ancient times with stories and culture passed down through the oral tradition. Themes of love, struggle, comedy & tragedy and messages of social YOUTH SLAM MOVEMENT change have remained the same in the modern framework. Marc Kelly Smith is recognized as the creator and founder Younger voices have a strong presence in the slam of the poetry slam movement, for which he received the movement. Slam poetry provides youth a voice to speak nickname Slam Papi. In 1984, the construction worker and out against social injustice, share their hopes and dreams American poet started a poetry reading series at a Chicago or simply ruminate over teen angst and homework. Youth jazz club looking for a way to breathe life into the open mic Speaks, Inc., a non-profit literary organization founded in poetry format. The series’ emphasis on performance would 1996, serves as one of the largest youth poetry organizations lay the groundwork for the poetry slam. Smith is considered in the country. Brave New Voices International Poetry Slam responsible for several key features of slam including the Festival was created by Youth Speaks, Inc. and is the largest selection of judges from the audience. In 1990, the first ongoing spoken word event in the world. National Poetry Slam took place and has since grown to include more than 75 international teams. Major cities have responded to the growing youth slam movement including New York City, Chicago, Philadelphia, According to Smith, “The very word ‘poetry’ repels people. Houston and Cleveland. Urban Word NYC provides Why is that? Because of what schools have done to it. The education and performance opportunities for teens and slam gives it back to the people.... We need people to talk holds the largest youth slam in New York City drawing poetry to each other. That’s how we communicate our values, more than 500 young people. In Chicago, Young Chicago our hearts, the things that we’ve learned that make us who Authors (YCA) offers workshops, mentoring, and competition we are.” opportunities and holds Louder Than a Bomb, the world’s largest team-based youth poetry slam in the country. Louder Smith has several philosophies for the slam poetry movement: Than a Bomb is also the subject of the HBO documentary The performance of poetry is an art -- just as much an art by the same name. as the art of writing it. The purpose of poetry (and indeed all art) in not to glorify Sources: Wikipedia.com the poet but rather to celebrate the community to which slampapi.com/new_site/background/slam_timeline.htm the poet belongs. (This idea is paraphrased from the works wordiq.com of Wendell Berry). The points are not the point, the point is poetry. (Alan Wolfe) No audience should be thought of as obligated to listen to the poet. It is the poet’s obligation to communicate effectively, artfully, honestly, and professionally so as to compel the audience to listen. Teacher Resource Guide playhousesquare.org/eduresources

Post-Program TYPES OF COMPETITION

The Open Slam refers to the most common type of slam, in The Props Slam allows competing poets to use props and which competition is open to all who wish to compete. In the costumes, which are under ordinary circumstances, against case that there are more slammers than slots/time available, the rules of slam. competitors will often be chosen at random from the signup list. The opposite of this, predictably, is an Invitational Slam. Style-Specific Slams include the Limerick Slam and the Haiku. A Theme Slam is one in which all competitors are required to have written within a certain theme or genre. The National Slam is a week-long event held in a different city each year, where teams of four poets each represent their city A Dead Poet Slam allows competitors to read or recite the for the opportunity to win the national slam championship. works of deceased poets. The slam is not restricted to any particular time period, as some poets have chosen to read Source: WordIQ.com Lord Byron, while others prefer Dr. Seuss.

The Low-Ball Slam rewards the poets with the worst scores. This is a rarely-seen but largely hilarious event.

“King of the Hill” or “Taos Bout” Style involves a direct face- off between two poets, which in some cases resemble poetry boxing matches but take on the look of tennis tournaments from a distance. The losing poets are eliminated, and the winning poets face each other in subsequent rounds. Bouts have a history that predates slam and have been running continuously since their inception in Taos, New Mexico.

The “1-2-3” Slam enforces time penalties and begins with a round of one-minute poems, followed by a round of two- minute poems and concluding with a round of three-minute poems, with the number of poets in each subsequent round reduced by elimination. The theory is that the poet earns the right to do a longer poem by first proving that he can do a shorter one well.

The Team Slam (aka “Grudge Slam”) involves two or more slam teams, usually (though not always) from different cities, each usually consisting of four or five poets. The two teams then take turns sending poets to battle it out for the prize, which is usually boasting rights. Teacher Resource Guide playhousesquare.org/eduresources

HOW TO HOLD A SCHOOL POETRY SLAM

When conducting a Poetry Slam in a school setting, it helps Five judges are randomly selected from the audience. You to temper competition by taking a team approach. Winning may also choose to have several teachers serve as judges. or losing is spread across the team and one single individual Poems are scored on a scale from 0 to 10, with 10 being is not identified as it is a team effort. This is also a great the highest score. Decimals may be used. Judges may opportunity to talk with students about winning and losing use small dry erase boards to record each poet’s score. graciously. Once the poet has finished, judges hold up their scores so the audience can see (and react to) the scores. Below are the established rules of the Brave New Voices National Youth Poetry Slam competition. You will need two scorekeepers to write down each poet’s scores from all five judges. Once the poet is finished, the The Rules: scorekeeper eliminates the highest and lowest scores then totals the remaining three scores. The final total is . 4-6 members per team. immediately shared with the audience. You will need a . No more than 4 members involved in any one poem calculator on hand as it can become difficult if decimals during the slam competition itself. are used. . Teams must prepare at least one individual poem per A timekeeper is necessary to ensure all poets stay within member. the 3-minute time period. A stopwatch is most accurate. . All of the work used in the Slam must be original writing Timekeeping begins at the first utterance from the poet. by the individuals slamming. Audience members are encouraged to participate and . Group pieces constructed and performed as duets, cheer teams on as they try to influence the judges’ trios, and quartets are not only permissible, but also decisions. Besides applauding, many groups snap their encouraged. Each performing member of a group piece fingers. The judges daunting task is to try not to be must have participated in the writing of the group piece. influenced by the audience. Remember, this should be . The Slam is about the poet(s) and the mic(s). Props fun! may not be used in the Slam. Props are defined as any non-body piece of equipment. Musical accompaniment A teacher, or responsible student, acts as the emcee. (excluding mouth/body percussion) may not be used in The emcee introduces the poets, never comments on the Slam. a poem or a poet, keeps the slam moving, the energy level high, and announces all final scores provided by the . Each individual and group piece must be under three scorekeepers. minutes in length. There is a 30 second grace period, after which significant time penalties will incur. Each school district has guidelines for what is and is not . If individuals or teams go over the time limits, their scores appropriate in the school environment. Discuss these will be penalized .5 for each 10 seconds beyond 3:30 with your students and provide examples such as use of minutes, starting at 3 minutes 40 seconds. (e.g. up to profanity, language choice, etc. Although slam is often 3:39 – no penalty; 3:40 to 3:49 - .5 point penalty; 3:50 to uncensored, the idea is to be supportive of one another, 3:59 – 1 point penalty, etc.) never to speak against any one individual or group. Teacher Resource Guide playhousesquare.org/eduresources

RESOURCES

Poetry Slam, Inc. www.poetryslam.com

Youth Speaks www.youthspeaks.org

Louder Than a Bomb http://www.louderthanabombfilm.com/

Young Chicago Authors www.youngchicagoauthors.org

Urban Word www.urbanword.org

UpWords Poetry www.upwordspoetry.com

Write Out Loud www.write-out-loud.com

Using a Poetry Slam to Teach the Mechanics of Poetry http://www.pbs.org/newshour/extra/features/jan-june00/poetryboxlessonplanone.html

Web English Teacher: Classroom Poetry Slams http://www.webenglishteacher.com/poetryslam.html

Verbs On Asphalt www.verbsonasphalt.com

Kent State University National Writing Project www.nwp-ksu.org

Poem of Quotes: 55 Types of Poetry http://www.poemofquotes.com/articles/poetry_forms.php

Mayhem Poets www.mayhempoets.com Teacher Resource Guide playhousesquare.org/eduresources

GLOSSARY OF TERMS: STUDENT HANDOUT

Spoken-word poetry: poetry that is meant to be spoken, usually with a purpose; conveys a strong message about people and society

Poetry slam: a competition in which poets perform their poems and are scored by a panel of judges

Poetic Devices Simile: comparing two things using “like” or “as” Metaphor: comparing two things using “is” Personification: giving life to an inanimate object or animal by describing it with human-like characteristics Repetition: repeating a word or phrase to add emphasis Imagery: using sensory details that describe how something looks, tastes, feels, sounds, or smells Alliteration: refers to the repetition of a particular sound in the firstsyllables of a series of words and/ or phrases

Delivery Techniques Enunciation: clear pronunciation and delivery of words Crescendo and Decrescendo: a change in the volume of delivery (crescendo is a gradual increase; decrescendo, a gradual decrease), which is used to build emotion in a poem Emphasis: a strong force used with certain words or phrases to draw attention to them Tempo: the speed of speech; changing it adds variety and creates a feeling or mood in certain parts of a poem Pause: a moment of silence that lets the words soak in Rhythm: the distinct beat and rhythm of a poem, distinguishing it from a monotone narrative

Adapted from ReadWriteThink, International Reading Association