Course Profile
(for a locally developed course)
Essential English, Grade 9
Unit 3: Creative Voices
Activity 1 | Activity 2
| Activity 3 | Activity 4
Students are exposed to a variety of poetic forms that exist in many guises throughout our society. Students examine songs, slogans, ballads, advertising jingles, and advertising print as forms of poetry and poetic use of language. Traditional forms of poetry are selected to reflect student interest. Students examine the use of language, imagery, and stylistic techniques that characterize poetry’s emphatic message and gain an understanding that “poetry “ is a constant in our lives conveying powerful emotions, experiences, and cultural characteristics. Students respond to and create a variety of expressions, concluding with the creation of a personal anthology.
Strands: Literature Studies and Reading, Writing, Language, and Media
Overall Expectations:
By the end of this course students will:
LRV.01 - select, read, and demonstrate an understanding of a variety of literary and informational texts, which are both personally meaningful and relevant to their courses of study;
LRV.02 - demonstrate an understanding of the elements of key literary and informational forms, with an emphasis on the features of textbooks, newspaper articles, short narratives, plays and business letters;
WRV.01 - use specific strategies to gather information and to generate ideas for written work;
WRV.02 - select and use different literary and informational forms … for different audiences and different purposes;
WRV.03 - use an organizational pattern to structure their ideas for writing texts;
WRV.04 - use strategies for revising written work;
WRV.05 - use strategies for editing and proofreading written work, with an emphasis on the conventions of Standard Canadian English;
LAV.01 - use vocabulary and language conventions to read, write and speak clearly and correctly;
LAV.02 - use listening techniques and oral communication skills to participate in large and small group discussions for a variety of purposes;
MEV.01 - identify and describe the elements, intended audiences and production practices of a variety of media forms;
MEV.02 - use knowledge of a variety of media forms, purposes and audiences to create media works.
LR1.01 - demonstrate understanding of text by making inferences, drawing conclusions and supporting opinions about the text and by making personal connections to issues and ideas in the text;
LR1.02 - read texts for a variety of purposes, with an emphasis on selecting texts to extend personal knowledge, gather information for writing and discussion;
LR1.07 - use Response Journals to record reactions to texts they have read for personal and academic purposes;
LR2.02 - describe the elements of different text forms.
WR1.02 - locate and record (using graphic organizers) information and ideas from print and electronic sources;
WR1.04 - use Response Journals as a source of information and ideas for writing assignments;
WR2.01 - identify their purpose for selected pieces of writing;
WR2.02 - identify the audience for selected pieces of writing;
WR3.03 - use a simple organizational plan such as chronological order or compare/contrast, to structure body paragraphs in a short report, following teacher modeling and shared writing of the form;
WR4.01 - use revision strategies … to produce clear, complete writing;
WR4.02 - use the feedback of others to improve the quality of ideas and organization in the writing;
WR5.01 - use strategies to edit and proofread writing, identifying and correcting errors according to the requirements for grammar, usage, spelling and punctuation…
LA1.01 - use strategies to expand vocabulary…;
LA2.01 - demonstrate the skills necessary for working successfully with others in groups…;
LA2.02 - use key listening techniques and oral communication skills to accomplish tasks in groups…;
LA2.05 - demonstrate appropriate listening behaviours (eye contact, leaning toward the speaker, not talking);
LA2.06 - make a short oral presentation … appropriate to the students’ level of confidence to the class or small group.
ME1.01: demonstrate developing critical thinking skills by identifying the differences between explicit and implicit messages in media works;
ME1.02: identify and describe the elements used to structure media works in a variety of forms;
ME2.02: create media works for different purposes.
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Activity 1 |
Poetry Alive! |
110 Minutes |
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Activity 2 |
Powerful Words, Imagery and Techniques! |
115 Minutes |
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Activity 3 |
Project Prep and Working Together! |
150 Minutes |
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Activity 4 |
Anthology Project |
225 Minutes |
Time: 110 minutes
Students are introduced to a variety of meaningful and interesting poetic forms that exist in the world around us. Exposure to songs, advertisements, and various texts enhance students’ experience and help them respond to future activities in the unit.
Strands: Literature Studies and Reading
Overall Expectations: LRV.01.
Specific Expectations: LR1.02, LR1.07.
The teacher will:
· review “General Planning Notes”, “Image of the Learner,” and “Prior Learning Required” in the Course Overview;
· prepare samples of a wide variety of poetic forms (e.g., songs, slogans, visual poems, songs, jingles, etc.). The teacher may wish to prepare a short video montage of various music video/advertising jingle/poetic forms. Include a selection representing a variety of Canadian and other cultural examples reflective of the composition of the class;
· prepare “purpose of poetry” questionnaires to be placed on each of four tables (see Teaching/Learning #4);
· prepare a student self-check list for the poetry package (see Teaching/Learning #6);
· provide newspapers, magazines, poems, songs, CD’s, tapes, etc.;
· suggest students select favourite songs, magazines, ads from home and bring to class and preview these samples for appropriateness.
1. Have music playing as students enter the room. As well, the teacher may wish to show a video montage of various advertising/musical/poetic forms.
2. On the board, write “What is Poetry?”
3. Students are placed at one of four tables. At each table, have a variety of texts and materials to allow students to experience a range of poetic forms.
4. At each table, students read the materials present. At five minute intervals, the students switch and move to a new table to experience new forms. Questionnaires are on the tables to direct student thinking. Questions include: Does the piece tell a story? Reveal a message? Create a powerful image? Express feelings? Is there a pattern? Does the poem rhyme? Is there a rhythm? Students may chart responses on chart paper or in their notebooks.
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Chart for
Poetic Samples |
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Poetic Text Type |
Source |
Relationship to Definition |
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slogan, advertisement, ballad, etc. |
magazine, poetry book, etc. |
personal comment |
5. Students return to individual desks. The class brainstorms responses to the question: What is poetry? Through teacher-led discussion and categorization of ideas, the students should be able to develop a class definition of poetry.
6. Discuss intended audience of slogans, advertisements and music.
7. Introduce the class to the development of a personal poetry package that is used to compile a variety of poetic samples. The package includes the chart from Teaching/Learning Strategy 4 as an organizer and index.
8. Students record the class definition of poetry on the title page of their package, and may choose to decorate their poetry package.
9. Students gather and select several samples of poetic expressions from at least three different sources. These samples are included in the package and recorded on their charts.
10. Students gather and select several samples of poetic forms from at least three different sources. These samples are included in their packages and recorded on their charts.
11. Students select two poetic texts to write a directed response in their Response Journals. The questionnaire serves as a guide to this response.
The teacher and students gather evidence of the specific expectations outlined for this activity by:
· a formative assessment by the students using a checklist to assess the completed chart that indicates an understanding of their ability to gather, select, and read texts that are both personally meaningful and relevant to the study of poetry (LR1.02);
· a formative assessment by the teacher using the students’ Journal responses to two separate poetic texts using the questionnaire probes (LR1.07).
Time: 115 minutes
This activity is designed to engage student awareness of the elements of descriptive language and emphatic communication in wide variety of forms. Students experience how language, visual images, tone, and colour may all create a powerful message and mood. Students investigate exemplars from the literary, musical, business, and social worlds and read, examine, and create their own messages in a variety of ways
Strands: Literature Studies and Reading
Overall Expectations: LRV.01, LRV.02, WRV.01, LAV.01, LAV.02, MEV.01.
Specific Expectations: LR1.01, LR1.02, LR2.02, WR1.04, WR3.03, LA1.01, LA2.01, ME1.01, ME1.02.
The teacher will:
· select a variety of poetic forms including songs, nursery rhymes, limericks, ballads, advertising jingles, slogans, words, images, as well as a selection of various styles of poetry. The teacher should have many examples for student use.
· prepare samples of figurative language (See Teaching/Learning #1). Five different sets of examples are needed to provide one for each group.
· post a variety of pictures, advertisements, paintings, etc. in the classroom that convey strong messages or moods. The Visual Arts Department can provide a valuable resource.
· have art supplies available (water colours, brushes, paper, etc.)
· select single frame cartoons and expressive pictures and remove any print messages.
12. Students review by listing the common elements of expressive forms (e.g., comparison, exaggeration, repetition, rhythm, imagery, visual presentation, etc.) and refer to samples from Activity 1 for examples.
13. Students are placed in groups of two to four students as appropriate for the individual skills and needs of the students. Provide each group with a set of prepared samples of the elements in a variety of forms (e.g., slogans, t-shirt decals, sayings, songs, etc.) Students identify elements of poetic forms in the samples provided and present their findings to the teacher, another group, or the whole class, as appropriate.
14. Students, with teacher direction, brainstorm words that indicate mood (e.g., scary, eerie, romantic, joyful, etc.) and copy the list for future reference.
15. With a partner, students select and read a sample using tone and emphasis to demonstrate a mood. For example, the student may choose to read an ad to create a romantic mood, or read the same ad to create a mood of horror. The class may wish to pursue this activity by reading a variety of samples to experiment with several moods, independently, in pairs, or as an entire class.
16. Students identify a variety of settings that convey various moods (e.g., carnival, video arcade, bar, store, family restaurant, etc.) and discuss the kinds of techniques that create different moods: texture, music, light, sound, etc. Students may wish to chart each of the settings, its characteristics and the effect on chart paper.
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Mood Creation
in a Variety of Settings |
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Setting |
Music |
Lighting |
Sounds |
Textures |
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carnival |
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video arcade |
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bar |
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jeans store |
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family restaurant |
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17. Provide students with a selection of texts that can be used to examine how mood is created. Samples can be found in print advertising, television advertising, slogans, songs, jingles, poems, etc. (For example, banking, insurance, sports equipment, and soft drink advertising provide good examples of powerful creation of mood.) Students choose three from the examples given to use in the next Teaching/Learning Activity.
18. Identify techniques that are used to create mood in the poetic forms. Such terms as rhythm, word choice and placement, images, symbols, emphasis, visual presentation, and size of print will be identified. Relate the terms to the settings that the students have described in Teaching/Learning #5. Students then refer to poetic samples to find examples of the techniques.
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Mood in
Poetic Forms |
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Techniques for Creating Mood |
Sample 1 |
Sample 2 |
Sample 3 |
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rhythm |
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word choice |
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word placement |
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images |
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symbols |
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emphasis |
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visual presentation |
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size of print |
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19. Students may also benefit from experiencing the use of words, pictures, and graphics to create mood and atmosphere in real life examples. Samples such as a variety of invitations (child’s birthday, adult birthday, wedding, New Year’s Eve party, Hallowe’en Party, etc.); menus (steakhouse, family restaurant, couples restaurant, etc.); or programs (theatrical production, rock concert, sports event, religious service, etc.) may be examined. Students should identify word choice, colour, pictures, structure, etc. as elements that inform, identify a specific audience, and create a tone and atmosphere.
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Sample
Organizer to Examine Invitations |
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Element of the Invitation |
Child’s Birthday Party |
Baby Shower |
Wedding |
New Year’s Eve Party |
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message |
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audience |
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graphics |
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wording |
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appearance |
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mood |
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If student interest makes further investigation of this area appropriate, students might create their own invitations to an event. MS Publisher contains a Wizard for Invitations that provides a template for students to use in the creation process.
20. Display in the classroom a variety of pictures, advertisements, paintings, etc. that utilize techniques to create a strong message (repetition, colour, contrast, exaggeration, etc.) The class makes observations about the messages, which are recorded in their Response Journals.
21. Distribute or post a variety of single frame cartoons and expressive pictures with print removed into four or five class groups. Students rotate through the collection of pictures and cartoons individually, in pairs, or small groups, and develop creative and expressive captions for the pictures. (Remind the students about appropriate language and ideas in the classroom setting if necessary.) Students have the opportunity to write captions for all of the pictures. When students return to their starting position, they select their favourite captions from the collection of captions at that station. The final results may be posted in the classroom along with the cartoon or picture.
22. Provide students with watercolours, paints, paper, water, and thick paintbrushes. While an oral rendition of a poetic form is heard (song, recited poem, advertising jingle, etc.), students respond spontaneously on the paper to create an art form. They may draw figures representing the content, or may create patterns that reflect the mood of the poem. When the pictures are completed and dry, students may explain how their drawing represents the poem, or alternately, provide feedback to a partner identifying elements of the poetic techniques that they recognize in the art. If interest is apparent, students might respond to additional examples of poetic text, selecting one artistic form to revise and polish for posting in the classroom.
23. Individually, the students write a Journal Response to a poetic form. They will complete a teacher-provided template: “The topic of this poetic form is …” “It reminds me of …” “It created a mood of …” “It makes me feel/think …” “I recognized the following poetic techniques …” “I liked/disliked this piece because …”.
24. Students may complete a media collage expressing a feeling, using a variety of words, pictures, colours, etc. cut from magazines, ads, slogans, etc. The feeling may be determined by the form responded to previously, or a feeling that the student wishes to express.
The teacher and students gather evidence of the specific expectations outlined for this activity by:
· a formative assessment using a checklist (see Poetry: Appendix 1 – Sample 1.1) in which students identify and describe the elements used to structure media works and write them in their response journals as a source of information and ideas (ME1.02, WR1.04);
· a formative assessment by the teacher of the student completed organizer on different types of real life “poetic forms” (e.g. invitations) (LR2.02, WR3.03, ME1.01, ME1.02);
· a summative assessment using a checklist that indicate that students have correctly completed the classroom notes as required by the activities (LR2.02, LA1.01);
· a summative assessment using a checklist that students have selected appropriate examples from their personal poetic texts of the poetic techniques (LR1.02, LR2.02, ME1.01);
· a summative assessment using a writing rubric that students have recorded personal reactions to the texts read and techniques seen in Response Journals following the teacher-provided template (LR1.01, LR1.02, WR1.04, WR3.03, ME1.01, ME1.02).
A variety of current magazines with colourful and effective advertising. (e.g., Macleans; People; Reluctant Hero; Time; Toronto Life; Vanity Fair; etc.)
Advertising supplements to local newspapers.
Please see “Resources” section at end of Activity 4.
Time: 150 minutes
In this activity, students practise group process skills and prepare rough draft material for the anthology assignment. Through this activity, students review poetic techniques and enhance their appreciation of poetic expression.
Strands: Literature and Reading, Writing, Language and Usage
Overall Expectations: LRV.01, WRV.01, WRV.02, WRV.03, LAV.01, LAV.02.
Specific Expectations: LR1.01, WR1.02, LA2.01, LA2.02, LA2.05.
The teacher:
· finds two different poetic forms (e.g., slogan and song) and themes (e.g., love, fear, friendship) which have similarities and differences. Provide sufficient copies for each group. A recorded version of the song would be helpful;
· becomes familiar with the venn diagram as a graphic organizer for comparison in literature (see Resources at end of this activity);
· finds examples of workplace literature that might be applicable to poetic forms analysis (e.g., yellow pages ads, print advertising);
· summarizes the rules for good groups on the board or chart for the students, or provide them with a copy of the evaluation rubric or checklist to remind them of the requirements of behaviour (See Coded Expectations for Language in Appendix A; Checklists for Group Roles and Skills in Appendix B.);
· identifies groups of two to four students, taking into consideration perceived strengths and weaknesses of the students, ensuring that all roles in the group process can be met;
· provides copies of the local telephone books or “Guide to the Region” available at local Chambers of Commerce or municipal offices;
· prepares a handout outlining the tasks students must complete for the Poetry Anthology Project, one per student and additional copies for posting or replacement. (See Appendix 1 – 1.3);
· asks teacher-librarian to begin to gather poetry resources for the anthology project.
25. Distribute samples from yellow pages and magazine advertising. Students identify examples of poetic techniques (repetition, contrast, exaggeration, etc.) as discussed in Activity 2. Students may wish to design their own yellow pages ad for a product of their own choice.
26. Select two poetic texts (poem and song) and distribute one to each member of the student pairs. The teacher and students read both texts (ideally the song will be played for the class) and identify six ideas in each under the categories:
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Poem |
Song |
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topic |
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audience |
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message |
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mood |
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poetic techniques |
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neat words |
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27. Students compare the ideas they have identified and complete a venn diagram indicating the similarities and the differences. (See p. 8-13 in The Co-operative Think Tank in “Resources” section.)
28. Provide the students with a model of a personal business letter, or a model of a more formal invitation (see Activity 2: Teaching/Learning #7) and have students write letters or create invitations inviting musicians, singers, or local writers to visit the class to share their expertise with the students. Students may locate addresses in the yellow pages of the phone book, or the teacher may distribute a guide to the region (available at Chamber of Commerce offices or municipal offices) and demonstrate to the students how to locate potential resources using this text. Connections may be made to local musical societies, writer’s guilds, bookstores, etc. As well, resources may be found within the school in senior English classes, music classes, etc.
29. If class interest makes it appropriate and a suitable community resource becomes available, the teacher will proofread and mail the letters. The activity may be expanded and students may learn and practise the skills of: making telephone arrangements and confirmation calls; greeting, introducing and thanking visitors; writing follow-up notes of thanks; etc. If implemented, the teacher should check board and school policies regarding speakers and visitors to the school.
30. Distribute the instruction sheet outlining the anthology project and discuss the requirements and the methods of assessment with the class. (See Appendix 1 – 1.3 at the end of this unit). The project has been designed to be readily adaptable for a variety of strengths and interest in poetic forms. Students who may study Grade 10 Applied English should be encouraged to complete a more literary anthology, including forms of poetry and songs in their selection process. Students who are destined for Workplace English in Grade 11 may take a more real-life approach: focusing on samples from advertising, flyers, and other business forms of communication. Students with severe literacy needs may have the project adapted to focus on media works and use of graphics and pictures (e.g., a theme collage, a room decoration, a bulletin board, a display showcase, etc.).
31. Review the requirements of good group process and form the groups.
32. In their groups, following requirements for group process, students brainstorm ideas for anthology themes, possible sources for resources and begin to outline their activities for completing the project. Students use the members of their group to provide feedback as the activities progress.
The teacher and students gather evidence of the specific expectations outlined for this activity by:
· a formative assessment by the teacher using a checklist of student completion of the categories organizer for both poem and song (LR1.01, WR1.02);
· a summative assessment by the teacher using a checklist of the venn diagram that students have concluded five ideas in both song and poem and indicated similarities and differences. (LR1.01, WR1.02);
· a formative assessment by the students using a checklist identifying group process skills (LA2.01, LA2.02, LA2.05).
Bellanca, James. The Cooperative Think Tank I: Graphic Organizers to Teach Thinking in the Cooperative Classroom. Illinois: IRI/Skylight Publishing, 1990. ISBN 0-932935-45-1
Time: 225 minutes
During this activity, students apply the knowledge and skills they have learned about poetic techniques and language in order to prepare an anthology of personal poetic expressions on a theme they have chosen for themselves. Sample guidelines for this anthology can be found as Appendix 1 of this unit.
Strands: Literature and Reading, Writing, Language, and Media Studies
Overall Expectations: LRV.01, LRV.02, WRV.02, WRV.04, WRV.05, LAV.02, MEV.02.
Specific Expectations: LR1.01, LR1.02, LR1.07, LR2.02, WR2.01, WR2.02, WR4.01, WR4.02, WR5.01, LA2.06, ME2.02.
The teacher:
· provides a wide variety of materials for students to use to complete the anthology including: poetic forms from a variety of sources (anthologies, magazines, newspapers, etc.) of varying difficulty with different themes and forms; art materials adhesive tape, scissors, magazines, glue, markers, etc.;
· ensures that students have the appropriate safety instruction in the handling of materials;
· ensures that students are familiar with accessing web sites, and in safe and ethical use of the Internet;
· considers alternate arrangements for students with lesser degrees of confidence in completing the anthology. Arrangements could include pairing students into work teams, or structuring the activity to allow for the preparation of a group anthology;
· provides a peer revising/editing checklist to assist students.
33. Explain the Anthology Project steps 1 to 9 and share the evaluation rubric, (both included in Appendix 1 – 1.3 and 1.4), with the class so that students understand how they will be evaluated in this activity.
34. Students decide on the theme of their anthology, after brainstorming possible themes with peers or a partner.
35. Students work individually on each task of the anthology project. Access to craft materials and use of computers would be beneficial in the process. They might access web sites, create visual effects, use varied fonts and print size, and use other visual effects to create the elements of the anthology.
36. Individual needs of students may be met by tailoring the anthology project. For example, students may create a more “literary” poetry anthology with a larger degree of emphasis on literary techniques. Other students might complete a “collage” anthology, with emphasis on pictures, words, and slogans. (See Activity 3, Teaching/Learning 6 also.)
37. As need arises, pair students for peer response and to peer edit the creative elements for content, style, and accuracy in spelling, grammar, and punctuation. Students may use the Student Checklist: Peer Editing (see Appendix B: Assessment Tools).
38. Following the creation of the anthology, each student prepares and delivers a two or three minute presentation to the class or his/her group explaining the selection in the anthology as an illustration of the chosen theme.
The teacher and students gather evidence of the specific expectations outlined for this activity by:
· a formative assessment by the students using a checklist to peer revise and edit (WR4.01, WR4.02, WR5.01);
· a summative assessment by the teacher using a checklist indicating that the student’s anthology contains: three poetic texts; three or more different forms of poetic text; three or more completed Response Journal items on the poetic text (LR1.01, LR1.02, LR1.07, LR2.02, WR2.01, WR2.02);
· a summative assessment by the teacher using a rubric (Performance Assessment Rubric: Personal Poetry Anthology Project: see Appendix 1 – 1.4 at the end of this unit) assessing: research skills, organization of anthology, content of anthology, oral presentation language and style (LR1.01, LR1.02, LR1.07, LR2.02, WR2.01, WR2.02, WR4.01, WR5.01, LA2.06, ME2.02).
Booth, David W. and Stanley Skinner. ABC’S of Creative Writing. Toronto: Globe/Modern Curriculum Press, 1981. ISBN 088996-048-8
Janeczko, Paul. How to write poetry: Scholastic Guides. New York: Scholastic Inc., 1999. ISBN 0-590-10077-7
Contains a variety of poems, ways to motivate writing, key ideas and themes.
Tucker, S. Writing Poetry. Glenview, Illinois: Good Year Books, 1992. ISBN 0-673-36039-3
Celtic Whispers
http://wwwtaliesin.clara.net/
Celtic poetry, celtic lore, myths, and legends
Project Share
http://www.favoritepoem.org/
The projects shares audio and video of people reading their favourite poems and invites readers to send in their favourite poems with a few sentences about why it is special to them. Students are invited to participate.
The Poetry Page
http://ww3.sympatico.ca/ray.saitz/poetry.htm
The page contains access to a series of documents with poems and instructions for teaching these to students. Activities include writing, music, rap, and more traditional forms for a variety of levels.
St. Stephen’s High School Poetry Online
http://www.k12.nf.ca/ststephenshigh/poetry/
Student poetry presented on pages designed by the students to present their poems most effectively.
To Be Alive Is a Grand Thing
http://www.suzanne.com.pk/poem.htm
A collection of thirteen student-written poems.
Barry, James, ed. Departures: Reflections in Poetry. Scarborough: Nelson Canada, 1991. ISBN 0-17-603717-9
Poems and songs organized thematically. Contains songs “Realized Your Dreams” by Rita MacNeil, “Mr. Tanner” by Harry Chapin, “Vincent” by Don McLean, “Sit Down Stranger” by Gordon Lightfoot.
Barry, James. Poetry Express. Scarborough: Nelson Canada, 1993. ISBN 0-17-603938-4
Poetry as “small, tidy word machines” arranged by structure and purpose.
Barry, James, Glen Huser, and Sharon Siamon, eds. Side By Side: Songs and Poems. Scarborough: Nelson Canada, 1993. ISBN 0-17-603897-3
Includes “Cat’s in the Cradle” by Harry and Sandy Chapin, “All that you have is your soul” by Tracy Chapman, “What is Truth” by Johnny Cash, “Redemption Song” by Bob Marley; “luck in my eyes” by k.d. lang and Ben Mink.
Foster, J. and G. Dennis. Classic Poetry, A Practical Guide for Key Stage 3. England: Stanley Thornes, 1995.
Kapell, Dave and Sally Steenland. The Magnetic Poetry: Book of Poetry. New York: Workman Publisher, 1997.
An anthology of poems including “refrigerator door” and “portable word pack.” Allows students to create their own poetry.
Kilcher, Jewel. A Night Without Armor: Poems. New York: Harper Collings Publishers, Inc., 1998. IBSN 0-06-019198-8
Sullivan, R. ed. Poetry by Canadian Women. Don Mills: Oxford University Press, 1989. ISBN 0-19-540688-5
Wing, John Jr. A cup of nevermind. Oakville, Ontario: Mosaic Press, 1998.
Brooks, Garth, Don Roberts, and Bryan Kennedy. “The Beaches of Cheyenne” in Fresh Horses, Pearl Records Inc.
Buffet, Jimmy. “He Went to Paris” in Songs You Know By Heart, MCA Recording.
Cohen, Leonard. “First We Take Manhattan” in Leonard Cohen I’m Your Man, Sony Music Entertainment.
Jacobs, J. “Summer Nights” in Grease, Polygram International Music Inc.
John, Elton and Tim Rice. “Circle of Life” in Elton John Love Songs, MCA Records, Inc.
Lightfoot, Gordon. “Canadian Railroad Trilogy” in Gord’s Gold, Warner Bros. Records Inc.
Simon, Paul. “The Sound of Silence” in Simon and Garfunkel’s Greatest Hits, CBS Music Inc.
Springsteen, Bruce. “My Hometown”, “Glory Days” in Bruce Springsteen Greatest Hits, Columbia Records.
Weiss, George and Bob Thiele. “What a Wonderful World” in Louis Armstrong What A Wonderful World, MCA Records.
Pinsky, Robert. The Sounds of Poetry: A Brief Guide. Farrar Status Girou, 1998. ISBN 037-4266956
A resource for teachers covering the technical elements of poetry.
How to Read a Poem and Fall in Love With Poetry. Harcourt Brace, 1999. ISBN 0151004196
The meaning of poetry in everyday life, how to read it, and why it is important is explained.
“In Their Own Voices…Poetry”. [Audio Box Set] Wea/AtlanticRhino
ASIN B000003RT
Four CD’s containing a collection of 20th century recorded poetry and song, with no accompanying text. Selections include Walt Whitman and Jack Kerouac.
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Task |
Complete |
Incomplete |
Needs Improvement |
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Identify elements of poetic forms |
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Use of template for Response Journal |
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Visual Watercolour Activity |
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Record elements and mood words in binder |
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Category |
Level 1 |
Level 2 |
Level 3 |
Level 4 |
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Response Statement |
- response is limited and unclear |
- response is awkwardly stated |
- response is clearly stated |
- response is clearly and effectively stated |
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Supporting Detail and Illustration |
- supporting detail is unrelated |
- limited supporting detail is offered (1-2 examples) |
- clear, logical and sufficient support given (2-3 examples) |
- best examples of logical and clear support given (3-4 examples) |
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Conclusion |
- conclusion is unclear |
- conclusion repeats the opening statement |
- conclusion restates the opening in a different way |
- conclusion uses body details to expand opening statement |
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Use of Template |
- at least two of the sentence completions are completed |
- at least three of the sentence completions are completed |
- at least four of the sentence completions are successfully completed |
- all five of the sentence completions are successfully completed |
Step 1: Select a topic or theme and record this topic in your Response Journal. Your topic might be an emotion (e.g., fear, love, romance, broken heart, etc.); a place (e.g., a beach, the mountains, a city); a season; a relationship (e.g., friendship, grandparents, etc.); a message about a social issue (e.g., war, pollution, justice); nature; or something else of your own choice.
Step 2: From materials you have at home or materials you find in the classroom or in the library, and keeping your theme in mind, select at least three “poetic forms” from three of the following groups: songs, poems, slogans, print ads, or other expressions. Be sure to record the name of the form, the author or singer, and the place you located it (magazine, book, Internet, etc.) in your Journal.
Step 3: From the choices you have made in Step 2, choose three poetic expressions which are written in different styles that you think are the most powerful.
Step 4: For each of the forms you have chosen in Step 3, complete the following activity in your Response Journal:
· Summarize what the form is about in your own words.
· Identify the intended audience for the form.
· Complete a statement which explains how you relate to this form. The statement might start: “This makes me feel …” or “This reminds me of …”
· For your next statement, write a sentence which provides a clear example from the form of why it has made you feel or think as you do. (You might comment on ideas, wording, format, colour, etc.)
· Conclude with a personal opinion about the form. You might begin with: “I liked this piece because …” or “I disliked this piece because …”
Step 5: Write (or draw) three pieces of your own about the topic. After you have written your first sample, find a partner and ask him or her to check it over and suggest ways in which it might be improved or made more clear. Your partner should also check your spelling, grammar, structure, and punctuation for errors. Do the same after you have written your other pieces as well. Keep all of your edited copies in a safe place, as you will have to hand them in later.
Step 6: Create a media product to accompany your poems which also illustrates the theme. You might make a poster, a CD cover, a collage, t-shirt design, or any media piece of your choice.
Step 7: Now you are ready to put the anthology together. Follow the steps below:
· Write neatly or word process the pieces that you found by other writers and your own pieces. Put each piece of writing on a separate page.
· Illustrate your writing with graphics, artwork from magazines, etc.
· Put all your papers together and secure them in some way (e.g., a binder or presentation folder). On the last page, write the title, author and source of the pieces you located in Step 3 of the project. Number your pages carefully.
· Create a table of contents for your project.
· Create a title page and give your anthology an extraordinary title.
Step 8: You are going to make a presentation about what you located to illustrate your theme to your classmates. Locate a picture and/or a song which will help you to make your presentation memorable.
Step 9: After you have prepared your presentation, hand in your anthology, your Response Journal, and all of your rough work to the teacher for marking.
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Category |
Level 1 |
Level 2 |
Level 3 |
Level 4 |
|
Research Skills |
- research includes a limited number of resources - relevancy of materials collected is lacking |
- research includes less than the required amount of information - some included materials are relevant |
- research includes information from three different sources - investigates and records relevant information from a variety of resources. |
- research includes a variety of multiple sources of information - relevancy of information collected is creative. |
|
Organization of Anthology |
- poor organization with limited preparation - lacks connection between ideas and examples |
- organization is attempted but is incomplete - needs additional connections between ideas and examples |
- organization has a clear structure - ideas and examples are logically related |
- organization is clear and creative - creative use of ideas, examples and resources |
|
Content of the Anthology and Oral Presentation |
- lacks clarity and focus with little attempt to achieve the purpose - final product is not neat and lacks necessary detail - little consideration of audience in choice of language and media |
- states the purpose but does not effectively achieve it - final product’s appearance has limited impact - suitable use of language and media with some consideration of the audience |
- is focused, clear and achieves the purpose - final product’s appearance is attractive and engaging - choice of language and media clearly appropriate to the audience and the purpose |
- is focused, clear and creatively achieves the purpose - final product’s appearance is uniquely engaging - language and media is varied in a creative manner, clearly appropriate to the audience |
|
Oral Presentation Style |
- little attempt to interest the audience - responds minimally to the audience - speaking voice unclear or monotonous, too quick or too slow, with inappropriate pausing |
- some attempt to engage the audience - responds hesitantly to the audience - speaking voice somewhat unclear, pitch seldom varied, sometimes too quick or slow with little pausing for emphasis |
- engages audience to be receptive - responds capably to the audience - speaking voice mostly clear and varied, with correct speed and frequent pausing for emphasis |
- engages audience to be responsive - responds insightfully to the audience - speaking voice clear and varied; body language enhances message; speaks at correct speed with effective pauses |
Line 1 a word for the title
Line 2 two words to describe the title
Line 3 three words to express action
Line 4 four words to express feelings
Line 5 one word that relates to line 1 or creates a special effect
The first line spells the poem’s title. Each line begins with the next letter of the word.
Each line answers one of the questions: who, what, where, when, why.
Each line can be a word, a phrase, or a sentence.
The order of the questions can be altered.
The words of the poem are place on the page to represent the meaning/content of the poem.
The graphic representation must give the reader the sound, the shape, and the meaning.
The print determines how the poem should be read aloud.
The parallel poem is a series of comparisons with one theme. Each of the lines describes a new aspect of the subject.
A song is a composition written to be sung. It usually has a rhythmic pattern and often creates particular mood.