Unseen poetry is stressful. We feel that it is never given enough time (because there are fifteen anthology poems to teach) and students struggle with confidence because the texts will be unfamilar to them. Coupled with this, the independent reading of poetry requires students to posess a certain degree of cultural capital; literature is filled with establised imagery and hidden meaning which the frequent readers in our classes will pick up easily, but those without that literary grounding in language and symbolism will miss, without even realising there was something there to spot in the first place.
I have started to teach unseen poetry by stripping away much of the worry and myth surrounding it. The main concern my students tend to have is: I need to be able to understand what the poem means.
Wrong. The exam question doesn’t say ‘explain what the poem means’. The questions on unseen poetry are going to ask how writers present things, and the examiner wants students to demonstrate their ability to pick out features of texts, comment on them and write some developed analysis. This is not the same as having to give a straightforward overview of a text. Continue reading “Unseen Poetry Without the Stress…”
Everyone loves a bit of colouring in. As a dyslexic English student I developed my own coping methods when writing notes, planning essays and internalising language during my A Levels and later, during my degree. I personally find colours to be vital to my own learning; even now I read with a pink layover and have a colour coded system in my own notes and lesson planning. Images and colours work beautifully as part of English lessons because, at its heart, English is a highly conceptual subject where students need an understanding of abstract theories as well as a strong sense of structure in their own writing (structure; the great intangible elephant in the room). Images, symbols, doodles, colours and shapes have been the basis of some brilliant activities in my lessons and I am certain that many of these principles will apply equally well in other subjects too. Continue reading “Doodling in the English Classroom”
A wise lady once told me that ‘Poetry is the music of language’. I take this to mean that poetry is simultaneously pure and abstract, both direct and ambiguous. Just like music, poetry needs an open mind, an open ear and, perhaps most importantly, no fear. Students of poetry must feel confident to face even the most intimidating poets of the canon, take them apart and reinvent them for themselves. If Shakespeare’s sonnets can speak to the students of their own frustrations and crushes, and if they can see something of their own lives in Chaucer’s pilgrims then poetry will become, like music, something which can comfort and stimulate them. Continue reading “5 Reasons why you should bring Spoken Word into your classroom…”
Getting kids to write poetry is often difficult. Some teachers, me included, think of that oasis of poetry writing as one of the only times when we can let students be totally free and expressive. However, the key to creating the best lessons on poetry is structure – if students get activities broken into bite sized chunks then they will be much more open and willing to put pen to paper. I am trying hard to avoid the ‘staring at blank page’ horror we all know, by doing just that; breaking things down. This lesson, or series of mini activities, is the first of many I hope to post over the next few months. They are all tried and tested with my own guinea pigs and mostly stolen from talented writers’ workshops… Continue reading “Poetry Writing 1 – Symbolism”