Activities
Opening Day
Based upon the work we will be doing as a class, the first day is going to be a set of explanations and brainstorming: First, explaining that we will be writing scripts to be used for a dramatic production of an historical event, or better yet narratives that will be set to stage to tell historical events in modern language and verse. Second, brainstorming some of the essential events of American history, ie.: the civil war, the depression, the civil rights era, etc., depending upon which events seem most prescient in the minds of students. Within each general period, however, are a myriad of momentary tales. For instance, we could design an entire script around a lunch counter experience during the civil rights era. Another way to do this activity of brainstorming would be to consult with a social studies teacher in the school to see what events s/he has focused upon or would like to. Another still would be to peruse the textbook students are using with them as a means of identifying a timeline of significant occurrences in the American historical record. Students can spend time arguing and debating the relevance of each event, as well as identifying the merits of any event: what classifies an event as having historical significance? From whose perspective is the story told? Are there contrary views of that same event? Class will end with students spending the night choosing (by our next meeting) one of the events to retell.
Alternative Content
If I were to have my way, and I suspect I might, then as an alternative to American history, and particularly because I have a lot of students who know their way around Puerto Rican history, the history of the Dominican Republic, and several other places on the planet, students could choose any event that has significance to themselves and their culture, and instead write verse to tell that tale. In fact, so long as it follows the same process of using the narrative structure below as a guide, I can imagine allowing level 1 to even level 3 English Language Learners to write in their native language. It might be fun to have certain students attempt to translate the work into English, accommodating the poetic twists and turns.
Second Lesson
Once students have selected an event, it may help them to identify a traditional narrative structure, called “Freytag’s Pyramid”. While there are many variations on the plot diagram, students should keep it in mind even as they seek to find alternatives to it. This simple pyramid, or triangle, should be like an outline that provides a framework for the narrative students will create around a historical event; we are, in essence, attempting to make stories from events, narratives in verse from the plot of an event. While students will spend a significant amount of time in this second part of the work on identifying the key exposition, complication, rising action, climax, falling action and resolution, students should balance that work with an exploration of character: who is at the center of the story? I recommend stories are written autobiographically, but who is the narrator? The survivor? The winner? The loser? “Voice” becomes the essential lesson.
Third Lesson
Now that students have identified the event, plot, and structure of what they will tell, they will need to establish a poetic style. For this I recommend students listen to their favorite music, as they always will, but now with a keen ear towards finding a rhythm that lends itself to a rewriting, a retelling in the context of historical events. This process can begin in as simple a way as to rewrite the song telling of the historical event, or by stealing the song for inspiration in order to write a new one. The most famous thief in this vein has been “Weird Al Yankovic”, whose spoofs of contemporary hits like “Beat It” by Michael Jackson (transformed into “Eat It”) can be a lot of fun to play for them from YouTube. Alternatively, students can pick instrumental music and write their own lyrics, if they are gifted in this way, and create lyrics by their own method(s). A third and most creative method is if they feel a song emerge from their own imagination. Students could even work together at this, forming teams of two or more in order to script an entire play that hopes to tell the tale from multiple perspectives. In writing the verse they can focus upon the “voice” of the character at play, but also upon technique, using traditional poetry methods such as rhyme, alliteration, metaphor, simile, hyperbole, and onomatopoeia, but above all else rhythm, be it from their own breath or the beat of an external force.
Fourth Lesson
The fourth phase of production can emphasize revision: checking for accuracy in facts, or at least maintenance of the spirit of the event(s) and the voice(s) of the character(s), as well as the flow, grammar, internal cohesion of the piece, as well as how it might fit into the larger context of a complete play, or on some level the complete narrative of American history. One question the teacher might ask at this point is about group cohesion: if everyone has been working on a script independently, for however many days, how can we gather together as a whole class and present our work in such a way that will allow for each student to feel validated for their efforts and supported in further development if such development is warranted? My solution to this is to have a public critique (and let them know beforehand that their work will be made public, or that in the very least it will be made visible to the other students in class, so as (1) to prevent any embarrassing content from being written into the script, and (2) to elevate the level of writing so that students, who are naturally hardwired to see competition in the work they do, push themselves just a little bit harder to impress each other). I like to do these once everyone is nearly done (deadlines are key here…) by asking each kid to present their work with a short explanation. These presentations should be as low stress as possible (otherwise some kids can get really worked up about them, but this is something they need to learn to do in poetry class). If you want to go whole hog, I recommend you use this as an opportunity to review the rubric you began with in the brainstorming activities on “Opening Day”: How is the event historically relevant? In addition to this criteria, students should now ask if the writing satisfies an expectation of voice: Does the style of the writing parallel the character’s intentions, motivations, and personality (also known as “Tone”)? Finally, the style: Does the style have any highlights and or methodological flaws? Where? How? Does it need more/less, and in what way? Students can award prizes to some that stand out to them, or at the very minimum can write literary critiques and appraisals that speak, with all respect, towards the merits of the piece.
Fifth Lesson
The fifth and final act in the play of this unit is a theatrical production. While this is in no way a requirement for the teacher in any class, be it English, Poetry, Social Studies or even Drama, I highly recommend it if only for the group process. It can be an overwhelming process, too, and an undertaking of not some little time and energy it can be even more than overwhelming! It could be disastrous! But it could also be a lot of fun for the participants as well as for the audience. Despite the potential life-sapping risks of assuming the reins of a theatrical production with high school students, once they have somehow committed to the various roles of the thing that is to be made, and perhaps they will present a short or fully developed production, the goal I emphasize is that if everyone participates it is a success. Just ask Lin Manuel Miranda!
Comments: