Creating Community 2
Intent: Like “Creating Community 1,” this assignment is a creative, interactive approach to building community in the classroom. This is a bit more advanced than “Creating Community 1” so I recommend that you use this closer to mid-semester, particularly in classes where performance is required.
This assignment can be done in a classroom setting, although Part 1 works better when there is some space to move. This is a great for performing arts classes, creative writing and speech classes, or courses that require high levels of student group work. In addition, students of color and international students are able to “share” insights into their families and traditions.
NOTE: Part I and Part II can be conducted individually.
No, you don’t have to be “creative” to make this work!
Time for Part 1 and Part 2: Full class period – 45 minutes
Part 1 – Voicing - 20 minutes
Provide students with a piece of writing – “The Constitution” is one choice, or a powerful piece of writing like the Bertolt Brecht monologue, “My Teacher,” or you can have them can select their own work (see the “I.
Begin by having them “move” around the room. If you are in a classroom, if they can snake around the desks, this is perfect. If not they can move in their “personal space.” If there is room (or you can find an open space on campus like the theater or dance studio, they can walk, run, jump, skip, roll on the floor, etc. Whatever the space, it helps if you can provide prompts as many students will simply stand in one place and read. Prompts can include telling them to use their bodies, their arms, head, etc.
Now have them read the work out loud while walking/moving in the space. While they are moving, tell them when they are done to freeze in whatever position they end once finished and focus in a downward gaze in front of them until the last student finishes. You will probably have to repeat these final instructions as each student finishes their reading.
After the first read through, explain to them that it is important to express the words through their bodies. They can run, walk, jump, sit down, crawl, emote, it’s up to them. It is also important to let them know that other students are so concerned about reading their own work out loud WHILE moving, that they don’t have time to watch others. Explain, once again, that when they are done to freeze in their final position and focus directly in front of them until the last student finishes. Now, have them repeat the reading.
Part 2 – Mindful Movement/Observation – 25-30 minutes, depending on the number of students in each group.
Begin by positioning the class so that they can clearly see the front of the classroom. Have them close their notebooks and have a pen available.
Ask students to think of an elder in their family. This person should be older, a grand or great grandparent or an older aunt or uncle. As one would in a guided meditation, ask students to think about how this individual looks. Begin with the person’s face. What does the skin on their face look like? Is it smooth, wrinkled, dark, pale? What color are their eyes? What color is their hair? Is it long, short, straight, curly, are they bald? See their lips. Hear their voices. Do they have a specific cadence to their voice? Do they stutter? How do they sound? Now, reflect on their bodies. Are they thin, heavy, fit, slouching, frail? Do the walk easily? Do they have an aide to help them walk? What kinds of shoes do they wear? See the clothes they are wearing? What is their favorite outfit? Do they like to wear trousers, a bow tie, an apron, tight clothing, pajamas? When you think of them, what do you see them wearing?
Add whatever else you would like to this meditation. Take your time with this section. Pause. Allow students the time to clearly see their person.
Have 4 -6 students come to the front of the room and take a stance that is one that they are comfortable with. Have them follow your instructions as you read them. You can add to this as well. The rest of the class watches in silence.
1. While standing there, I want you to notice something that your relative would see. Look at it through their eyes.
2. Begin to feel your face beginning to look like their face.
3. Begin to SLOWLY allow your body to take one stance or position that they do on a regular basis that most defines who they are.
4. Once you are in the stance, think about what they are wearing and how that might cause a slight change in their stance.
5. Have them introduce them selves to saying “My name is….”
6. Identify ONE thing that they do that is quirky, different, or annoying and add that to the stance.
7. Have them call your name (or nickname they call you) one time, as if they are calling you to come inside.
8. Have them introduce themselves by saying their name one more time and then have them begin telling a story that they’ve told numerous times. (You should time this. I generally let them talk about 30 seconds, repeating the story if they finish before I tell them to stop, and then tell them to stop by saying, “That’s enough of that story.”)
9. Once they have all stopped, instruct them that they are not to move until you explain what is to happen next. Explain that they are to SLOWLY come out of this posture as if they are as film rolling in reverse. You will read the instructions slowly to them in reverse. Have them begin with #7.
Once the students have returned to being “themselves,” have them remain at the front of the classroom. Ask the observers to sit for 1-2 minutes reflecting on what they have seen. This also provides the students who have “performed” to unpack the experience as well.
After the reflection period, ask the student to write about what they experienced. During this time, allow the performers to express their experience. It is important to listen with compassion and empathy.
After 2-3 minutes, have the class respond to experience. Ask them to explain what they saw. If they comment on what someone failed to do or didn’t do as “well,” remind them that they are to speak only on what they saw happening. The “seeing” is what is key in this exercise.
Once the students complete their comments, ask that the next group come to the front.
Note: I don’t let the “performers” tell the students who they were or explain what they did. This exercise is about the experience and not about the outcome.
FINAL NOTE:
The first exercise, if a text is provided, can be used as a tool to engage the students in addressing issues that are controversial and/or empowering. In a culturally responsive classroom, this is an opportunity to address differences and begin to break down barriers.
This exercise allows for students of color and international students s to share cultural identities with their classmates. In a time where stereotypes, popular culture programming, and the news media, classify and objectify the other, this exercise allows the human qualities to be addressed and the differences to be less complex. It also allows under-prepared students to pay homage to those figures that generally play a large roll in their lives as surrogate parents, family patriarch, matriarch or the key supporter of their desire to pursue their academic careers.
ADDITIONAL EXERCISE
Follow-up Writing Assignment to Mindful Movement/Observation
Telling A Story – 20 minutes
Have students reflect on the individual they’ve chosen and write down about one dozen memories of that person, each of varying lengths. I generally will ask that all remembrances should be one-sentence long except for four, which allows students to expand on a story particularly after telling that person’s story in the past assignment. But, none of the twelve should focus on or be involved in the earlier story, however tempting that may be. Begin each one with “I remember.”
Stick to specific details with both the one-sentence and longer sentences. “I remember, after dinner, the smell of my father’s cigar as he sat on the porch for an early evening smoke.” “I remember dad laying on his belly on top of a drop cloth that he used to look under the under carriage of his truck. He was on his back then, but now he was on his stomach, reaching through a small hole once covered by a small piece of plywood, and gradually pulling out a bottle of homemade wine in a Johnny Walker Red bottle.”
When writing about a person, it’s better to switch from only talking about one thing and switching to many of the items listed below:
Memories should be about different times in their lives. You can make this one about what happened to the person 24 hours earlier and/or it can be of an early memory of that individual.
Have the students organize the events as they choose and then write a “poem” entitled, “I Remember.”
NOTE: This exercise can be another version of the “Voicing” exercise, if you chose.
*Based on Taylor Mali’s “The ‘I Remember’ Poem”
Intent: Like “Creating Community 1,” this assignment is a creative, interactive approach to building community in the classroom. This is a bit more advanced than “Creating Community 1” so I recommend that you use this closer to mid-semester, particularly in classes where performance is required.
This assignment can be done in a classroom setting, although Part 1 works better when there is some space to move. This is a great for performing arts classes, creative writing and speech classes, or courses that require high levels of student group work. In addition, students of color and international students are able to “share” insights into their families and traditions.
NOTE: Part I and Part II can be conducted individually.
No, you don’t have to be “creative” to make this work!
Time for Part 1 and Part 2: Full class period – 45 minutes
Part 1 – Voicing - 20 minutes
Provide students with a piece of writing – “The Constitution” is one choice, or a powerful piece of writing like the Bertolt Brecht monologue, “My Teacher,” or you can have them can select their own work (see the “I.
Begin by having them “move” around the room. If you are in a classroom, if they can snake around the desks, this is perfect. If not they can move in their “personal space.” If there is room (or you can find an open space on campus like the theater or dance studio, they can walk, run, jump, skip, roll on the floor, etc. Whatever the space, it helps if you can provide prompts as many students will simply stand in one place and read. Prompts can include telling them to use their bodies, their arms, head, etc.
Now have them read the work out loud while walking/moving in the space. While they are moving, tell them when they are done to freeze in whatever position they end once finished and focus in a downward gaze in front of them until the last student finishes. You will probably have to repeat these final instructions as each student finishes their reading.
After the first read through, explain to them that it is important to express the words through their bodies. They can run, walk, jump, sit down, crawl, emote, it’s up to them. It is also important to let them know that other students are so concerned about reading their own work out loud WHILE moving, that they don’t have time to watch others. Explain, once again, that when they are done to freeze in their final position and focus directly in front of them until the last student finishes. Now, have them repeat the reading.
Part 2 – Mindful Movement/Observation – 25-30 minutes, depending on the number of students in each group.
Begin by positioning the class so that they can clearly see the front of the classroom. Have them close their notebooks and have a pen available.
Ask students to think of an elder in their family. This person should be older, a grand or great grandparent or an older aunt or uncle. As one would in a guided meditation, ask students to think about how this individual looks. Begin with the person’s face. What does the skin on their face look like? Is it smooth, wrinkled, dark, pale? What color are their eyes? What color is their hair? Is it long, short, straight, curly, are they bald? See their lips. Hear their voices. Do they have a specific cadence to their voice? Do they stutter? How do they sound? Now, reflect on their bodies. Are they thin, heavy, fit, slouching, frail? Do the walk easily? Do they have an aide to help them walk? What kinds of shoes do they wear? See the clothes they are wearing? What is their favorite outfit? Do they like to wear trousers, a bow tie, an apron, tight clothing, pajamas? When you think of them, what do you see them wearing?
Add whatever else you would like to this meditation. Take your time with this section. Pause. Allow students the time to clearly see their person.
Have 4 -6 students come to the front of the room and take a stance that is one that they are comfortable with. Have them follow your instructions as you read them. You can add to this as well. The rest of the class watches in silence.
1. While standing there, I want you to notice something that your relative would see. Look at it through their eyes.
2. Begin to feel your face beginning to look like their face.
3. Begin to SLOWLY allow your body to take one stance or position that they do on a regular basis that most defines who they are.
4. Once you are in the stance, think about what they are wearing and how that might cause a slight change in their stance.
5. Have them introduce them selves to saying “My name is….”
6. Identify ONE thing that they do that is quirky, different, or annoying and add that to the stance.
7. Have them call your name (or nickname they call you) one time, as if they are calling you to come inside.
8. Have them introduce themselves by saying their name one more time and then have them begin telling a story that they’ve told numerous times. (You should time this. I generally let them talk about 30 seconds, repeating the story if they finish before I tell them to stop, and then tell them to stop by saying, “That’s enough of that story.”)
9. Once they have all stopped, instruct them that they are not to move until you explain what is to happen next. Explain that they are to SLOWLY come out of this posture as if they are as film rolling in reverse. You will read the instructions slowly to them in reverse. Have them begin with #7.
Once the students have returned to being “themselves,” have them remain at the front of the classroom. Ask the observers to sit for 1-2 minutes reflecting on what they have seen. This also provides the students who have “performed” to unpack the experience as well.
After the reflection period, ask the student to write about what they experienced. During this time, allow the performers to express their experience. It is important to listen with compassion and empathy.
After 2-3 minutes, have the class respond to experience. Ask them to explain what they saw. If they comment on what someone failed to do or didn’t do as “well,” remind them that they are to speak only on what they saw happening. The “seeing” is what is key in this exercise.
Once the students complete their comments, ask that the next group come to the front.
Note: I don’t let the “performers” tell the students who they were or explain what they did. This exercise is about the experience and not about the outcome.
FINAL NOTE:
The first exercise, if a text is provided, can be used as a tool to engage the students in addressing issues that are controversial and/or empowering. In a culturally responsive classroom, this is an opportunity to address differences and begin to break down barriers.
This exercise allows for students of color and international students s to share cultural identities with their classmates. In a time where stereotypes, popular culture programming, and the news media, classify and objectify the other, this exercise allows the human qualities to be addressed and the differences to be less complex. It also allows under-prepared students to pay homage to those figures that generally play a large roll in their lives as surrogate parents, family patriarch, matriarch or the key supporter of their desire to pursue their academic careers.
ADDITIONAL EXERCISE
Follow-up Writing Assignment to Mindful Movement/Observation
Telling A Story – 20 minutes
Have students reflect on the individual they’ve chosen and write down about one dozen memories of that person, each of varying lengths. I generally will ask that all remembrances should be one-sentence long except for four, which allows students to expand on a story particularly after telling that person’s story in the past assignment. But, none of the twelve should focus on or be involved in the earlier story, however tempting that may be. Begin each one with “I remember.”
Stick to specific details with both the one-sentence and longer sentences. “I remember, after dinner, the smell of my father’s cigar as he sat on the porch for an early evening smoke.” “I remember dad laying on his belly on top of a drop cloth that he used to look under the under carriage of his truck. He was on his back then, but now he was on his stomach, reaching through a small hole once covered by a small piece of plywood, and gradually pulling out a bottle of homemade wine in a Johnny Walker Red bottle.”
When writing about a person, it’s better to switch from only talking about one thing and switching to many of the items listed below:
- How they look.
- A place they liked to go.
- A smell they have
- An event
- The quality of the day
- The shape of something
- Write about a movement that they make
Memories should be about different times in their lives. You can make this one about what happened to the person 24 hours earlier and/or it can be of an early memory of that individual.
Have the students organize the events as they choose and then write a “poem” entitled, “I Remember.”
NOTE: This exercise can be another version of the “Voicing” exercise, if you chose.
*Based on Taylor Mali’s “The ‘I Remember’ Poem”
