Writing for Change

Thursday, June 26, 2008

Social Action Journal Links

These are the links that I used for my journal discussion if anyone wants to use them in their classroom.

http://www.youtube.com/watch?v=WYPVISQR9fY

Humoristic gay marriage argument

http://www.youtube.com/watch?v=-T-yqlH67_4&feature=related

Al Gore inconvenient truth argument

Wednesday, June 25, 2008

Slam Link

Here's a great resource for those of you interested in slam poetry. Hope this some of ya'll do some great stuff in the coming year.

http://www.poetryslam.com/

Tuesday, June 24, 2008

Slam Poem Competition

Samone found this wonderful link for elementary teachers interested in learning more about regional and national slam poem competitions:http://www.americascores.org/index.php?id=97

Saturday, June 21, 2008

Polylogues: What/Why/How We Teach Them

“Poly” means “many” or “more than one.” “Logue” refers to “speech.” A polylogue, therefore, refers to many or multiple speeches--i.e., multiple voices, multiple texts, multiple perspectives.

“Polylogue is basically a fundamental way of conversation and an exchange of ideas.”
Excerpt from: Tella, Seppo. “Components of Media Communication Education.” University of Helsinki. Department of Teacher Education. 1995. 7 Jun. 2008 <http://www.helsinki.fi/~tella/150.html>.

"We are teaching—our students and ourselves—through the medium of textuality, in its discursive and historically constituted structures, to explore and study themselves as 'subjects.' [. . .]. Our goal is [. . .] to develop the skills and confidence (and some understanding of the epistemological underpinnings) to become strong readers of texts—'masterworks' and others—to be able to analyze the ideological dimensions of writing, of our own and others’ readings, to raise questions of class, gender, race, and agency in relation […]. In short, we are teaching our students not only a 'subject'—English or literature—but also the ways through which they might know themselves as 'subjects'" (195).
Excerpt from: Waller, Gary. “Polylogue: Ways of Teaching and Structuring the Conflicts.” Critical Theory and the Teaching of Literature: Politics, Curriculum, and Pedagogy. Eds. James Slevin and Art Young. Urbana: NCTE, 1996. 189-206.

"In order to facilitate dialogue, the teacher has to be able and willing to give up his own monologue. Dialogue will change into an authentic polylogue only if constructivist principles are respected and mutual discussion encouraged."
Excerpt from: Tella, Seppo. “Components of Media Communication Education.” University of Helsinki. Department of Teacher Education. 1995. 7 Jun. 2008 <http://www.helsinki.fi/~tella/150.html>.

"Once the students learn the rules of discourse, they can experiment with the rules; they can challenge their territory. The monologue can be replaced with meaningful dialogue, or polylogue […]. The instructor can help her students recognize the rules as tools to communication. […]. Once students feel comfortable in their structure, they are able to rely less on the instructor's monologue and can speak with authority and authenticity. These are moments when […], when learning is internalized, when ownership is shifted from the instructor (or the root) to the student."
Excerpt from: Howard, Shannon. “The Value of Reterritorialization and Contained Lines of Flight in the Composition Classroom.” Northeastern State University. 12 Jun. 2008 <http://arapaho.nsuok.edu/~malonect/Howard.htm>.

Friday, June 20, 2008

Step into a Slam Jam

In 1984 Chicago poet Marc Smith was searching for a way to showcase the art of poetry. He started open mic nights at a local jazz club for spoken word performances. Two years later, Smith convinced a local club to host a weekly poetry competition and the Uptown Poetry Slam was born. The format encouraged audiences to cross the line dividing spectator and performer.

Today poetry slam audiences and judges often make their feelings known by the snapping of fingers, stomping of feet, hooting and hollering or—for the unfortunate poet whose work has been deemed unsatisfying—booing. What has evolved from Smith's humble beginnings is a national forum in which artists who believe poetry should be spoken out loud can hone their craft.

Although some people associate slam poetry with hip hop, the style of poetry can range from love poems to social commentary, comic verses to personal confessions. Poets are judged on how well their performances convey the emotions of their respective works.

For more information on slam poetry, visit poetryslam.com.

Excerpt from: “Colby-Sawyer News.” Colby-Sawyer College Website. Colby-Sawyer College. 2007. 10 Jun. 2008 <http://www.colby-sawyer.edu/news/pr167.html>.

Slam v. Soft

The word "slam" itself denotes physicality and passion, and appeals directly to the modern, hardened youth. The poetry slam contrasts with conventional readings by its very nature. A slam competition usually consists of about 10 audience members randomly chosen to judge competitors' poems on a scale of one to 10. The winner generally receives money or prizes.

A traditional reading, on the other hand, is more impersonal. A podium divides the reader from the audience. [. . .] Obscenity can be a vital part of slam poetry readings. Slam lends itself to anger and passion - and can be a forum for poets to release those emotions.

Excerpts from: Orlando, Angela. “Slam Poetry More Energetic, Interactive than Traditional Readings.” The Arizon Daily Wildcat Online. The University of Arizon. 2 Mar. 2001. 8 Jun. 2008 <http://wc.arizona.edu/papers/94/111/04_4_m.html>.

Slammin’ Jammin’ Performances