Jane Spiro 2007
.... the teaching of writing poetry is 'likely to be most successful in the hands of teachers who themselves write creatively.'
The following is drawn from Jane Spiro's research paper, 'Teaching poetry: writing poetry - teaching as a writer' (NATE English in Education, Autumn 2007)
Visualisation poem: Go and open the door:
Teacher reads a short visualisation in which learners imagine a secret, hidden door appears in the classroom. STOP: write what you think will be behind the door.
They stand up, open the imaginary door(s) and enter. Inside is a room full of objects from their pasts. STOP: write down the objects you see.
They walk around the room remembering and thinking about each object, picking up and touching each one. Then they choose an object to take out of the room. STOP: write down which object you have chosen.
They pick them up and leave the room, close the door and return to their seats. STOP: write down why you have chosen that object.
Jane reflects that she wanted her learners to 'have the same opportunities to be comforted by the answers from their past lives (as she had had), using the artefact each found and chose, as a symbol of the comfort we receive from our own histories.
... In a way, the process was loose enough for them to move in any direction, and they did so, enjoying the freedom of the form.
... when I moved into the second visualisation version (the first had been more structured), something else took place. My own 'script' generated a trance-like calm in the group, the writing seemed to be intensely private, and the paired exchange of ideas was animated. However, the outcomes were not pieces the learners wanted to share, or to 'publish'. I understood, from the first trial of this version, that the exercise opened up a private dialogue - just as it had done for me: and that the authenticity meant that these should remain private.'
Spiro speaks of the value of teacher and learner being connected in authentic life/writing experiences; further that although there is no one way which will work equally for every writer every time, the 'rules and patterns appear to have provided a springboard for invention.'
She concludes that the teaching of writing poetry is 'likely to be most successful in the hands of teachers who themselves write creatively.' (Hyland 2003, in 'Second Language Writing, CUP):
'... teachers can remind themselves that writing can be a collaborative process and does not need to take place in lonely isolation; that writing does not spring fully formed, but is almost always improved by editing and revision; and that simplicity is even more effective than complexity; the small, the patterned and the understated can be haunting and memorable, and much large-scale sentiment can be better expressed in small-scale ways. By recognising our 'natural' capacity for creativity, reflecting on this, and reconstructing it pedagogically, we are better able to bring our skills to class as vehicles for authentic learning. However positive or negative the outcomes, the experimentation with 'real-life' processes is one that makes the classroom a crucible in which learning and 'creating' poetic texts can authentically take place.'
Visualisation poem: Go and open the door:
Teacher reads a short visualisation in which learners imagine a secret, hidden door appears in the classroom. STOP: write what you think will be behind the door.
They stand up, open the imaginary door(s) and enter. Inside is a room full of objects from their pasts. STOP: write down the objects you see.
They walk around the room remembering and thinking about each object, picking up and touching each one. Then they choose an object to take out of the room. STOP: write down which object you have chosen.
They pick them up and leave the room, close the door and return to their seats. STOP: write down why you have chosen that object.
Jane reflects that she wanted her learners to 'have the same opportunities to be comforted by the answers from their past lives (as she had had), using the artefact each found and chose, as a symbol of the comfort we receive from our own histories.
... In a way, the process was loose enough for them to move in any direction, and they did so, enjoying the freedom of the form.
... when I moved into the second visualisation version (the first had been more structured), something else took place. My own 'script' generated a trance-like calm in the group, the writing seemed to be intensely private, and the paired exchange of ideas was animated. However, the outcomes were not pieces the learners wanted to share, or to 'publish'. I understood, from the first trial of this version, that the exercise opened up a private dialogue - just as it had done for me: and that the authenticity meant that these should remain private.'
Spiro speaks of the value of teacher and learner being connected in authentic life/writing experiences; further that although there is no one way which will work equally for every writer every time, the 'rules and patterns appear to have provided a springboard for invention.'
She concludes that the teaching of writing poetry is 'likely to be most successful in the hands of teachers who themselves write creatively.' (Hyland 2003, in 'Second Language Writing, CUP):
'... teachers can remind themselves that writing can be a collaborative process and does not need to take place in lonely isolation; that writing does not spring fully formed, but is almost always improved by editing and revision; and that simplicity is even more effective than complexity; the small, the patterned and the understated can be haunting and memorable, and much large-scale sentiment can be better expressed in small-scale ways. By recognising our 'natural' capacity for creativity, reflecting on this, and reconstructing it pedagogically, we are better able to bring our skills to class as vehicles for authentic learning. However positive or negative the outcomes, the experimentation with 'real-life' processes is one that makes the classroom a crucible in which learning and 'creating' poetic texts can authentically take place.'