1. Exploring in small groups Inquiry Question What makes effective talking and listening when we are working in small groups? Aims We will explore the question by creating two pieces of Performance Poetry. In doing so we will explore effective talking and listening in small groups as well as the art form of Performance Poetry Success Criteria -You will adopt and use effectively a framework for small group talking and listening -You will explore and use the elements that make for successful Performance Poetry -You will work creatively coming out of your comfort zone taking risk -You will be inspired by a range of examples both written and on film of people who have found their voice. In doing so you will find your voice to speak out! -After we have had the experience you will be able to reflect and evaluate coming to your own understanding of what makes effective talking and listening in small groups

2. IGNITE ! (SMALL GROUP)

3. The language of justification The evidence suggests...... We can draw several conclusions..... One way to interpret....... From the perspective of........ It is evident........ It is clear that........ The fact is........ I think.......because........ I agree/disagree with.......because..............corroborates the idea that....... It really means......because........ In the past.........but now....... The most likely reason......... I might justify......... I am motivated......... I have every right to...... I am lead to......

4. o Preparation - becoming immersed in problematic issues that are interesting and arouses curiosity. o Incubation - ideas churn around below the threshold of consciousness. o Insight - the “Aha!” moment when the puzzle starts to fall together. o Evaluation - deciding if the insight is valuable and worth pursuing. o Elaboration - translating the insight into its final work.  Forming This is where the group gets together and starts to work out who should do what.  Storming This is when people start to disagree and at times argue – they are testing each other out.  Norming This is where people start to co-operate and get used to working with each other.  Performing This is where the group has worked out who is good at what and is now working properly as a team to focus on the goals in front of them. The whole team is buzzing and enjoying the work – all are contributing fully.

5. ESSENTIAL QUESTIONS These are questions are at the heart of the search for truth, they get to the heart of the matter. These are the big questions. They come from our deep wish to understand something that matters to us. They are always ‘open’ questions. ‘What does it mean to.....?’ ‘What kind of.....?’ ‘Who will.....?’ ‘How shall.....?’ ‘How can......?’ SUBSIDIARY QUESTION One question leads to another question. These are questions which combine to help us build answers to our essential questions. Big, essential questions will always create families of smaller questions which lead to insight, new understandings. These questions help us answer the essential questions PROBING QUESTIONS These are the questions that go beyond the surface to ‘the heart of the matter’. Just like a doctor spend little time on the surface, knowing full well that the vital organs reside at a deeper level. Or just like an archaeologist’s tools, the brushes which clear away the surface grime and debris to reveal outlines and ridges of some treasure. We should never stop investigating. ‘Which parts.....?’ ‘How much of this.....?’ ‘Will this......?’ ‘Can you explain exactly why......?’ ‘Why would somebody say.....?’ ‘What is being assumed...?’ ‘How can I/we/you......?’ ‘Is this......?’ ‘Are there.......?’ PROVOCATIVE QUESTIONS These are questions that are meant to push; to challenge and to throw us all off balance so we are now not quite sure what we believe. It sometimes is not what people want to hear so be prepared for a strong response! ‘So where is the evidence......?’ ‘What is your point......?’ ‘Let’s cut to the chase, is there......?’ ‘How reliable.......?’ ‘Are you really saying.....?’ CLARIFICATION QUESTIONS These are questions that convert fog and smog into meaning. Things are not always clear. We might ask, ‘What did you mean by......?’ ‘Can you give me an example of......?’ ‘How did they......?’ ‘Are there......?’ STRATEGIC QUESTIONS These are questions that help you find your way, the order in which you might do things, how you might tackle something, the things you will need to do, what is going to make it work ‘What do I/we/you do.....?’ ‘How can we best......?’ ‘What have......?’ ‘What would the next.....?’

7. Performance poetry-Shades and Tones A poem tends to move through a series of moods and tones of voice to tell an emotional story. Even when the poem is a series of images, even when we do not know what’s been happening, there is usually an emotionally drama playing out from the beginning through to the middle and to the end as the poem arrives at some emotional resolution. The tone shifts are like shades of paint.

8. It was a lecture hall on a November day, Tone: Somber The Hook: Unexpected; sets the scene The comma asks us to pause; to take in the scene It is the longest sentence as it sets the scene; draws in the audience Pitch : Low/soft Rhythm: Slow/steady Unison: Because I want to emphasize the hook; to underline this I would also echo ‘ November day’ Shape: The room was cold and dark, Tone: Haunting The doubling emphasizes how gloomy the atmosphere is setting up the last line; the climax The comma also builds tension Pitch: Whispered/hard Rhythm: Fast then pause then slow to bring out the subtext of gloom; precise Unison ‘The room’; then canon splitting the line to emphasize the doubling Shape: Then all four people came out, Tone: Anticipation The length of the line brings out how many people step out The comma continues to build suspense and gives us time to see the four people Pitch: Steadily rising/crescendo Rhythm : Staccato Unison to bring out how may people there were Shape: And suddenly there was a spark! Tone: Thrilling The exclamation mark tells us this is the climax. It bookends the verse as there is contrast with the first line Pitch: Loud/confident Rhythm: Pause after ‘and suddenly’ then crack the silence; brink out the onomatopoec sound of the ‘sp’ and the ‘k’ Shape:

9. Pace/ Rhythm Fast Precise Staccato Steady Slow Measured The power of the pause Pitch (The inflection of the voice-the melody of the speech) Loud Normal Quiet Whispered Hard Soft Low High Ends of sentences/starts of sentences –Crescendo Timbre Tone/Pitch/Pace-the quality of the sound of your speech

10. Choices and decisions for each line…….. The Hook in the first line The Tone for each line Analysis of language techniques including effect of the punctuation The pitch for each line The rhythm for each line The choral speaking techniques for each line such as unison/canon/echoing…… The physical shape you will use for each line

11. Choral speaking-creative ways you can present some text -Speaking together (Unison) -Break the text into sections. Then play with patterns-Unison; Canon (This could be one by one/solo; twos/threes/Half the group) -Echo (Overlapping) -Echo (with a pause between) -Repeat sections/words -Emphasise the sounds (Onomatopoeia) -Experiment with expression: Tone; pitch; rhythm (Musicality; whisper/shout/loud/soft; sing; chant; deadpan) -Combine all/some of these techniques -What other creative ways can you experiment with?

12. ‘We are top notch performing poets’ SUCCESS CRITERIA Use all the devices you have been taught in English to make your writing eloquent. Make a list of them before you start Build a rhythm as it will be a poem to be performed. Test it out speaking it aloud to yourself/to someone else. Then re draft. Remember most writers re draft over 10 times Create a range of shades and tones.A poem tends to move through a series of moods and tones of voice to tell an emotional story. Even when the poem is a series of images, even when we do not know what’s been happening, there is usually an emotionally drama playing out from the beginning through to the middle and to the end But remember you are also teaching us about: Physical presence Voice Dramatic appropriateness Level of difficulty Evidence of understanding Overall performance Fluency

15. WWW / EBI –PERFORMANCE POETRY Physical Presence Eye contact; Body language; Control Voice-Pitch, Tone, Pace, Rhythm Dramatic appropriateness Just enough visual, gesture, dramatization without taking away from the language Level of Difficulty There was enough challenge in terms of depth of content There was enough challenge in terms of quality of language There was enough challenge in terms of Voice-Pitch, Tone, Pace, Rhythm Evidence of understanding Everyone understood the sub text of each line Overall Performance The audience was captivated The audience came to a better understanding of the poem You breathed life into the poem You are beginning to breathe life into the poem Fluency You were strong and wrong You drove the performance at the right speed

19. Dreams-Expressing feelings; emotions; appreciation Shades and Tones DREAMS WHEN I WAS YOUNG I USE TO DREAM.......... THE EARLIEST DREAM I CAN REMEMBER......... THE STRANGEST DREAM I EVER HAD WAS....... THE SCARIEST DREAM I EVER HAD WAS....... THE THING ABOUT DREAMS IS....... THE MOST RECENT DREAM I HAD WAS....... A DREAM I REALLY NEEDED TO SHARE WAS.... A DREAM I HAVE NEVER TOLD ANYONE WAS...... A DREAM I WANT TO PAINT A PICTURE ABOUT........ A DREAM I WOULD WRITE A POEM ABOUT IS....... A DREAM THAT MATTERS TO ME IS......... A DREAM FEATURING SOMEONE I KNOW WOULD BE........ DREAMS............ DREAMS............. TURN ALL OF THE ABOVE INTO YOUR AMAZING DREAM POEM An example I might write: When I was young I used to dream the stars shooting across the sky were kicked by me The earliest dream I can possibly remember was falling and falling and falling and always waking up SUCCESS CRITERIA -Use all the devices you have been taught in English to make your writing eloquent. Make a list of them before you start -Build a rhythm as it will be a poem to be performed. Test it out speaking it aloud to yourself/to someone else. Then re draft. Remember most writers re draft over 10 times -Create a range of shades and tones.A poem tends to move through a series of moods and tones of voice to tell an emotional story. Even when the poem is a series of images, even when we do not know what’s been happening, there is usually an emotionally drama playing out from the beginning through to the middle and to the end

20. The Art of Recitation - A Powerful Performance What makes a performance compelling? A performance is more than the sum of its parts. Sometimes it’s hard to put into words exactly why you can’t take your eyes off a recitation. Please keep in mind that there is no definitive recitation or interpretation. While these videos serve as examples, each student will draw on their own experiences to create a unique interpretation. For this reason, it is so important that you, the student, find language and content that speak to them individually; such connections will be apparent in their recitations. Often everything about the recitation draws you in to the language. You’ll notice that each performer has a profound internalization of their presentation, it’s in them, they own it. All of the examples show a high level of evidence of understanding. The clues are to be found in body language, tone of voice, and/or the style of delivery, physical presence, voice and articulation, and dramatic appropriateness.