Poetry By Heart Blog

The Ear Is The Best Reader

24th February 2017

As Robert Frost once said, ‘the ear is the best reader’ and it is on this philosophy that The Poetry Archive was founded.

After meeting in a recording studio, Sir Andrew Motion (UK Poet Laureate 1999 – 2009) and the recording producer Richard Carrington, agreed how enjoyable and illuminating it is to hear poets reading their work and how regrettable it was that in the twentieth century many important poets had not been properly recorded. Major poets such as Hardy, Housman, Lawrence had never been recorded at all, and now that opportunity was lost forever.

Launched in 2005, the Poetry Archive now offers a free resource of national and international significance which has at its heart a belief in the profound insights that come from hearing poets’ own readings of their work.

From www.poetryarchive.org you can access and listen to the world’s premier online collection of recordings of poets reading their own work. The Archive exists to make poetry accessible, relevant and enjoyable to as wide audience as possible so alongside freely accessible recordings and a wealth of background information and materials, the Poetry Archive continues to develop new ways to provide teachers with the support they need. We have a range of exciting plans in the pipeline for 2017 and if you would like to get involved, or benefit from special offers and priority news on projects and developments, or simply hear our latest news, please subscribe to our teachers newsletter here.

We want you to love exploring our Poets and collections and we will continue to develop resources with teachers’ needs in mind:

MyArchive: The MyArchive feature of our website allows you to create your own account and bookmark collections and recordings that you would like to quickly and easily return to later, creating bespoke lessons and streaming collections as and when you are ready. There is no limit to the number of collections you can create, or how long you can keep them – they will be saved and ready as you need them.

Classroom Collections: If you don’t need to keep your own collections ready using MyArchive, you can use one of our tailor made Classroom Collections, which have been curated with teaching in mind. Go to the Teach section of our website and you will find collections such as Gothic Poetry, WW1 Poetry and Caribbean Poetry alongside suggested Lesson Plans and Glossary terms.

Download Audio: Our collections are free where we are able to negotiate those rights with our Poets and publishers, but if you wanted to take poems further you can use our Download Store to purchase individual poems and load them onto other devices to play anytime. We have created specific GCSE teaching focused albums, such as, ‘Poems from the AQA GCSE Anthology’, ‘Poems from the Edexcel GCSE Anthology’ and ‘Power and Conflict (Poems from GCSE Anthologies)’ to support your activities.

We are delighted to continue to support Poetry By Heart and we hope you enjoy exploring our collections.

We look forward to sharing our future plans with you.

Tracey Guiry
Director
The Poetry Archive

Between 2013 and 2016 Poetry By Heart was the principal educational initiative of The Poetry Archive, developed with The Full English and supported by the Department of Education. It was co-founded by Andrew Motion (Co-Director of The Poetry Archive) and Julie Blake ) Co-Director of The Full English and Education Director of The Poetry Archive) in February 2012.

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Shakespeare Sonnet Competition Update

23rd February 2017

20170220_EMAIL_TeachIt_Shakes_1Schools all over the country are setting up their dates for the simple 1 student or 1 staff Shakespeare Sonnet competition and we’re here to help you set up your own!

Why not challenge yourself to learn a sonnet you’re teaching this year by heart? We’ve got all of the sonnets available in our Shakespeare Sonnets Showcase here.

Get started with your Shakespeare sonnet competition by downloading the cheatsheet here and why not contact us if you need any extra support?

Download

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Need Help with PBH 2017?

pbh-handbook-270-170-1The Poetry By Heart competition only needs 3 students to memorise 2 poems (pre-1914, and post-1914), and for you to select 1 winner by 31st March 2017.

Our team of experienced support staff will give you all the best tips and tricks for hosting your competition before the deadline: 31st March 2017. We’ll help you get started and finished in no time at all.

The competition handbook is available to all registered schools and colleges by email in a print friendly format. Simply print off the whole thing or just the pages you need.

If you’d like to have a friendly chat about tips and tricks for getting your competition off the ground – be it Poetry By Heart or the Shakespeare Sonnets competition – we’re here to help and we hope to hear from you soon.

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Your Stories!

Every year we love to hear stories from students and staff who participated in Poetry By Heart – the annual competition to help students discover the joy of memorising and reciting poetry.

Here’s just some of the brilliant tweets and reports we’ve been getting from participating schools.

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Whitley Bay High School

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Isleworth & Syon School

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Richmond Park Academy

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Teesdale School

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“The schools very active Poetry Club hosted [this year’s Poetry By Heart] event and we were delighted that once again Anne Fine was able to join us as Chair of the Judges.

“This year’s joint winners were Jake Knight and Cal Baker, both in Year 10, who between them recited the poetry of Clough, Gunn, Wilde and Frost.

“They were variously complimented on their ability to learn the poetry with a high degree of accuracy and also to really modulate their voices effectively.

“From this round the students will work on their performances and then go on to have a video recording made of this which will allow judges to decide who goes forward into the final.

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Images used with consent

“In a curriculum where certainly for English Literature at GCSE and A Level, students need to learn quotations from set texts by heart, competitions such as these very much support students’ learning. Also this year for the first time there is another element to the Poetry by Heart Competition, which involves quite simply, learning one of Shakespeare’s sonnets by heart and then reciting it and we are all looking forward to this and hope many of students, and indeed teachers from school, will enter.

“Cassie M Flint”

Dividing LineIf you’d like to tell us about how your competition went, why not get in touch or message us on Twitter or Facebook, too?

 

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Poetry By Heart Newsletter

7th February 2017

Poetry By Heart Newsletter February 2017

Poetry By Heart Competition 2017 Update

This is our fifth year running the competition, and 2017’s competition is in full swing.

We’ve been receiving notifications from schools all over England that they’re planning on holding – or have already held – their competitions. We’ve loved seeing the photos and hearing about the winners on Twitter.

Set A Competition Date? Let Us Know on Twitter!

Not registered yet or need help setting up your competition?

There’s lots of help at hand! We’ve already emailed all registered schools their competition handbook – no more waiting for the post!

But if you’ve misplaced yours, just email info@poetrybyheart.org.uk or pick up the phone and call us on +44 (0)117 905 5338. You can get started immediately!

Register Your School Today

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Making Your Winner’s Video Submission – Celebrating Your Winners

Once you’ve held your competition, you will need to make a video of your winner’s recitation.

The videos are simple to make and are an excellent way to document the winner’s achievement. You can use the videos to promote your school, your students, and their passion for poetry.

As well as sharing the videos with parents and the rest of the school, why not share them with the local radio station, too? Local communities love poetry, too!

Whether you’ve already held your competition or not, the video recordings are an extra opportunity for winners to polish their performance for the finals.

We’ve provided guidelines on how to make a quick and easy video of your winner in the competition handbook (can’t find yours? Contact us!).

Once you’ve created your winner’s recital video, get in touch and let us know. Our panel of judges will then select the County Winners from your video submissions.

The County Winners will be invited to the live National Finals to battle it out to become Regional Champions. The Regional Champions then compete to find out who is the National Poetry By Heart Champion 2017!

There’s still time to set up and hold your very own Poetry By Heart competition!

If you’d like some extra support to get up and running, don’t hesitate to get in touch via info@poetrybyheart.org.uk or pick up the phone and call us on +44 (0)117 905 5338.

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Shakespeare Sonnets Competition – The Perfect Half Term Challenge!

Recently we announced our new Shakespeare Sonnets showcase. The collection is vibrant and colourful, and features all 154 sonnets for you to enjoy. To celebrate this great addition to our site, we’ve launched a fun Shakespeare recitation competition!

The competition is open to all schools in England. Students from KS3 and above can enter, and we’ve opened up the Shakespeare competition to teaching and support staff to take part in, too!

We’ve made the competition so simple: all you need is one adult entry, and/or one student entry!

Simply send us the video of their sonnet performance and you’ve successfully held the Shakespeare Sonnet Competition!

The deadline for submissions is the same as the Poetry By Heart competition: 31st March 2017.

Get started by registering your school.

Half Term Challenge. Why not challenge students and staff alike to select a sonnet and learn it by heart over the half term break? Narrow down the search: try filtering to the Classics. Try picking a theme close to your heart and use our keyword filter! E.g. your favourite season winter or summer. E.g. Something romantic such as eyes, heart, love or kiss

Remember to let us know about your Shakespeare competition. The best ones will be invited to perform them live!

Watch this space for more updates about our Shakespeare Sonnets showcase and competition.

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Get In Touch – Support and Updates

If you’re not registered yet, or you’re worried you don’t have time, or just don’t know where to start, we’re here to help!

You only need 3 students for your competition, two poems each, and 1 competition this term!

Why not start by setting a half term challenge to learn a poem by heart (see above)?

Ways to get in touch:

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Jacob Polley wins TS Eliot Prize!

In other poetry news, we’d like to congratulate Jacob Polley, who has won the prestigious TS Eliot Prize for his collection Jackself (2016).

Polley features in our anthology timeline, designed to take visitors on a journey through over a thousand years of poetry. Why not start with a visit to Polley’s poem Langley Lane?

Polley’s work is often threaded with observations of the natural world, sometimes described as haunting yet lyrical. He offers an unexpected perspective on everyday things, and Jackself joins his collection of poetry The Brink (2003), and his novel Talk Of The Town (2009).

Visit our Anthology Timeline

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Calling All Poetry Lovers!

Don’t worry if your school isn’t in England but you would still like to hold your own competition, you absolutely can!

Get in touch via info@poetrybyheart.org.uk or pick up the phone and call us on +44 (0)117 905 5338 – we would love to hear about which poems you chose to learn by heart, or what you’ve liked most about Poetry By Heart.

Want More Updates? Sign Up To Our Newsletter

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Bursting into Poetry

21st July 2015

Image courtesy of Noel Hankamer – Arching Oaks

English teacher Alison Shaw recounts three experiences of getting the poem right off the page – twice out of the classroom too.

 

I love Glyn Maxwell’s idea of the first line of a poem being  ‘the precise moment at which the pressure of [a] silence breaks into utterance that has to be heard ( Julie Blake, March 2015). It puts me in mind of the transition which is the hallmark of musicals – the sudden switch from speaking to singing, the giddy energy that leaps out when a character launches into song.  Who can resist Maria in The Sound of Music when her answer ‘Raindrops on roses…’takes off into melody  ( well, perhaps many of you can, but I can’t!)

Poems often burst onto the page in a similar fashion and it struck me that it would be illuminating and fun for students to explore what could have prompted that bursting forth and show it in a mini performance.

I chose some of Shakespeare’s sonnets – ones whose first lines were direct and immediately engaging.  We read them through together and then pairs of students decided which one to make the climax of their drama.  Improvised conversations sprang up all over the class.  Friends started chastising friends; jealous lovers gave vent to their anger; there was a gradual crescendo then ..there it was…’Why didst thou promise such a beauteous day/ And make me travel forth without my cloak..’ uttered Priya, an accusing finger pointing at Emily; ‘Unthrifty loveliness, why dost thou spend/Upon thyself thy beauty’s legacy?’ said Ruth from the window corner, sitting back to back with her partner.   The poems spoken in class were spoken TO someone; they had a real purpose; two of the secrets of great poetry, according to Adrian Mitchell.  The students had personalised the poems, made them their own.  I realised they had got the poem right off the page and into themselves and the more I could help them do that, the better.

So, when I saw the first line of Shelley’s ‘Ode to the West Wind’:  ‘ O wild West Wind, thou breath of Autumn’s being,’ , I knew my A level class would have to go outside. A blustery October day helpfully came along and we left the classroom and each student positioned themselves by a tree and shouted out the poem.  Soon they were battling with the wind more than the poem – they wanted to get those words into the turbulent air. The ‘hear, O hear!’ took on a real power, an energy it could never have harnessed in the classroom.

My most recent attempt at getting the poem off the page was a poetry flash mob for National Poetry Day.  We had a little steering committee and the poem finally chosen to commit to memory was Masefield’s ‘I must go down to the sea again’.   ( Just the first verse – it was our first attempt, after all!)  It had a suitable te tum te tum te tum te tum rhythm  – being in ballad form, we could even have practised singing it to the tune of The House of the Rising Sun  – try it sometime ( Mark Forsyth, The Elements of Eloquence)!  It also had a pleasing sense of urgency at the outset and the students loved the aural effects in the line ‘And the wheel’s kick and the wind’s song and the white sails shaking’.  Copies of the poem were surreptitiously distributed at the ends of lessons and on corridors.  Rehearsals took place behind closed doors.  Planning was meticulous: place – the outdoor café; time – first break; technical support – Kevin, the Drama teacher, with whooshing waves sound effects. We were very nervous when the time came, but, all in position, on Roberto’s cue, we nimbly climbed on top of the benches ( I had practised this in advance to avoid inelegance) and, from on high, the recitation began!  We had already decided to do the verse twice, but once the rhythm and vision got hold of us we really did not want to stop!   We got a good round of applause at the end and felt quite triumphant.  Living the poetry – that seems to be an answer!

Alison Shaw is an English Teacher and volunteer gardener.

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Romford Primary Schools Celebrate Poetry Week

7th July 2015

Poetry Week celebrations in Romford Primary Schools

For the past three  years the Poetry By Heart London East county competition has been held in Romford Library. Karen Jordan and her staff at the library have organised superb events and in the last two years the London East champion has made the final eight of the national competition. But it is not just in the 14 to 18 sector where the act of taking a poem to heart is flourishing.

 

Over the course of a week the Multi Story Theatre Company worked in seven Romford Primary schools with a variety of year groups. Hillene, Broadford, Pyrgo and Mead Primary, along with Brookside and St Ursula’s Infants and St Ursula’s Juniors all took part in an inspiring Poetry Week celebration.

The ambition for the week was to engage the children in the joy of speaking poetry out loud: how do the words sound and feel as they’re spoken, where does the poem connect with you – head, heart or body?

One of the joys of the week was seeing how the children responded to a challenging collection of poems. W.H.Auden with 10 Year olds? Amy Lowell with 8 year olds? You bet! Several of Carol Ann Duffy’s poems were featured and these bought out the best in every age group.In fact, the more complex and challenging the poem, the more mature the response.

Bill Buffery from the Multi Story Theatre company commented: “As theatre practitioners and workshop leaders we can honestly say that leading these Poetry and Performance workshop weeks is one of the most satisfying experiences of the year. It’s really moving  to watch the quality of the children’s understanding of the world developing through their engagement with poetic language. It is also so pleasing to see a group of schools working together to champion the performing arts and use them to inspire the children!”

In the finale performance, all of the pupils joined together to perform AA Milne’s poem ‘Sneezles’. As a cluster we offer the pupils a wide range of opportunities to showcase their skills and talents: poetry, spelling, sports and maths. Seeing them all collaborate and enjoy the language of some great poems was a real joy. To also share that with parents from all seven schools made the event even more memorable.

I will leave the last word to Ruby Burchell from Broadford Primary: “Our poem was ‘Begged’ by Carol Ann Duffy. It was great fun to read it out loud as it was packed with tricky rhymes, alliteration and twists. I did feel nervous, but I loved the performance and want to do it again.”

 Malcolm Drakes is the Headteacher of Broadford Primary School – which is situated in Harold Hill, Romford. As Chair of the local cluster of primary schools, Malcolm initiated a Poetry Week. The key aim is to widen the cultural experience for the area’s pupils who often come from deprived backgrounds. It also celebrates performance poetry and provides an opportunity for pupils to enrich their knowledge of language. Through their YouTube Channel and blog the school seeks to promote and celebrate a wide range of learning opportunities that have helped Broadford Primary become one of the top performing primary schools in the country.

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Poems for Comparing

7th June 2015

 

When I was Head of an English Department at a sixth form college in Sussex back in the 1990s we developed what we called an ‘induction unit’ for students choosing to do English Literature A level with us. From September to November we introduced Year 12 groups to a very wide range of authors and genres offering, we hoped, a veritable smorgasbord of stimulating literature. It was fun to create and to adapt each year and once our new students got over the shock of being told, ‘Don’t worry about the set texts yet…’ they seemed to enjoy the induction unit too!

 

We wanted to avoid anything resembling a set text like I avoid red kidney beans after experiencing a severe case of food poisoning from an insufficiently cooked batch of the red devils many years ago. We did not want to launch in to a detailed analysis of whatever Jane Austen was on the specification that year much as we all loved her novels. No, we wanted to work on generic skills to do with reading texts and writing cogently about them through work on as many different styles of literature as we could effectively pack in to eight weeks.

Of course as the narrator in L.P. Hartley’s ‘The Go Between’ wearily states, ‘The past is a foreign country; they do things differently there.’ Today such reckless disregard for the prescribed texts on a specification would probably lead to disciplinary procedures but of course all of us who have ever taught English know and promote in all kinds of ways the value of ‘wider reading’ as a way of enriching the taught and assessed curriculum.

For Poetry by Heart team members it has been very rewarding to hear from teachers about how they are using our freely available online poetry anthology. We have heard not only from those whose students are actually participating in the competition but also those using the collection of 206 poems and 63 First World War poems as a valuable classroom resource without necessarily entering the competition. Making use of the anthology to encourage wider reading and to allow the honing of ‘English’ skills is often mentioned in the feedback we receive.

One demanding element within pre and post 16 English specifications concerns the requirement to compare texts. In the build up to the start of teaching the new GCSE specifications in English there has been much debate about the requirement for students to study at least fifteen poems and to show understanding of the relationships between texts. In A level over many years the importance of making comparisons and seeing connections between texts has been stressed in assessment objectives.

So, all this thinking about wider reading and comparing texts led me to consider what poems I might put alongside some of my favourites in the Poetry By Heart anthology to encourage the development of those generic ‘comparing’ skills that are valued so highly.

Below are 6 suggestions with the (A) poem taken from the Poetry By Heart anthology and the (B) poem chosen from outside our anthology. Some are challenging and some more straightforward. Some might suit a little summer holiday wider reading assignment for Year 9 or 8 before the onset of GCSE and some might suit Year 11 or 12. All the (A) poems are of course available at www.poetrybyheart.org.uk whilst the (B) poems are easily accessible at various sites like www.poemhunter.com

1)      (A) ‘The Soldier’ Rupert Brooke and (B) ‘Drummer Hodge’ Thomas Hardy.

This is a popular pairing and one that has cropped up on many an exam paper over the years but it’s a good one. Brooke’s soldier’s death produces a ‘…corner of a foreign field/That is forever England’ whereas Drummer Hodge’s body lifeless after a Boer War battle is absorbed in to the South African landscape. ‘Yet portion of that unknown plain/Will Hodge for ever be.’

2)      (A)’Ae fond kiss and then we sever’ Robert Burns  (B) ‘Since there’s no help come let us kiss and part’ Michael Drayton.

Two moving poems about love and loss and in Drayton’s case lingering hope.

3)      (A) ‘The Chimney Sweeper’ William Blake  (B) ‘The Sluggard’ 1715 Isaac Watts

Taken from his collection ‘Divine Songs’, Watts’ poem is an example of the kind of morally uplifting and ‘improving’ verse that remained very popular for many years after its publication. Blake’s poem of course is much more morally ambiguous and challenging whilst seeming to adopt the conventions of eighteenth century poems for children.

4)      (A) ‘On the Death of Robert Levet’ Samuel Johnson (B) An Ode on the Death of Mr Henry Purcell’ John Dryden.

Different approaches in style and tone to commemorating the sadly departed.

5)      (A) ‘You are old father William’ Lewis Carroll (B) ‘The Old Man’s Comforts and How He Gained Them.’ Robert Southey.

Lewis Carroll’s famous poem from ‘Alice’s Adventures in Wonderland’ and the poem by Southey that it so amusingly parodies

6)      (A) ‘Sir Gawain and the Green Night’ The Gawain Poet  (B) ‘Piers Plowman’ Lines 1 to 21 William Langland.(A pairing for Year 12 perhaps?)

Sir Gawain is a favourite amongst the Poetry By Heart team as it reminds us of the remarkable winning recitation of the poem by our first champion Kaiti Soultana in 2013. You can see her recitation here: http://www.poetrybyheart.org.uk/poems/sir-gawain-and-the-green-knight/ Comparing these two magnificent middle English alliterative poems would encourage the appreciation of sound effects and the texture of words and would really draw attention to the acoustic quality of verse. The opening 21 lines of ‘Piers Plowman’ show the start of a spiritual journey just as Gawain is journeying in his poem:

‘In a somer seson, whan softe was the sonne,

I shoop me into shroudes as I a sheep were,

In habite as an heremite unholy of werkes,

Wente wide in this world wondres to here.’  (‘Piers Plowman’ The Prologue – lines 1 to 4)

 

What poems would you choose to pair with poems from the Poetry By Heart anthology? It would be great to hear from you.

Mike Dixon is a former Head of English and former Head of a sixth form college on the south coast. He is now an education consultant and delighted to have been part of the Poetry By Heart team since the launch of the project in 2012. mike.dixon@poetrybyheart.org.uk

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Planning For Risk

26th April 2015

Creative Commons Jake at Gocredit

When I read about the “unplanned” lesson on the Poetry by Heart blog, I was certainly nervous about trying it. In fact, a reasonable amount of planning was essential for this lesson. I now realise that what I was doing was planning for risk…which is something rather different. It is somewhat unnerving and very, very worthwhile.

 

The starting point for the lesson was to use the random poem selection facility on the Poetry by Heart website, pulling out an “unplanned” poem from their excellent anthology. My first challenge was how to solve the problem of making the randomly chosen poem available for the students to work on, as soon as it had come up. My solution was to have a poetry starter involving some memorisation. While it ran, a colleague completed the printing for us.  Thank you Emma – what a star! The starter was a group challenge – see how much of the opening of “Night Mail” you can learn in five minutes. Pretty much everybody got most of the first two stanzas, but some got further, and had fun doing it.

The poem that came up by chance  was Christina Rosetti’s “A Frog’s Fate”. When the poems arrived, I issued one A3 ideas sheet to each table of four. Their first challenge was to work out the story, the narrative. And as I started to read it for the first time, I panicked. They wouldn’t get it. They’d rebel. It was awkward, complicated language, contrived, alien, I could hardly get a grip on it myself. They’d reject it and resent what I’d imposed on them. It would be a disaster.

Very quickly, most groups had latched onto to the Frog’s death as the key component of the poem’s narrative. I pushed them. I said I needed more than that. I gave them another two minutes. Then, going from group to group, I picked up their sheets and read what they’d got to the rest of the class. One group had absolutely nailed it – and so I was able to ensure that all groups understood that basic narrative and felt secure with it.

Next: questions, feelings, atmosphere.  This was when the noise in the room changed. While the class had been trying to get the story, they were fairly loud, with some off task chat as they struggled with it. Now, knowing the shape and outline, they really settled in. Much quieter, much more thoughtful. We were all struggling with the deeper ideas, though. They wanted me to tell them what it meant and what it was about. This was where not knowing the poem before the lesson really helped. They were seeing me having difficulties, and I was responding to their questions with more questions. We were in it together. Fantastic.

With ten minutes to go, I took photos of the A3 sheets, so the class could see what the other groups had been up to. Here’s a selection of what they came up with:

– about a person, but also not

– he didn’t realise he knew nothing about the village beyond; his arrogance led to his death

– a sad horrible death, no one notices, and he dies on a hideous highway

– the highway may represent karma

– he thought he was important, but when he died, no one knew.

– it’s a fable, but about what?

In that short time they’d really got to the heart of the poem and its driving ideas. The discussion as I went round the groups had been very encouraging indeed. This is a class who seem to need huge amounts of reassurance all the time; during this lesson they developed confidence and began to work independently in a way I’ve not seen before.

Three cheers for random poetry selection…thank you, Poetry by Heart.

 

 Caroline Mortlock is  currently having a wonderful time as Lead Practitioner in English at Beacon Academy in Crowborough, East Sussex. Previously Caroline has led a variety of English departments and been an assistant head teacher. She is a voracious and prolific reader who is just beginning to start writing again. Her love of poetry began after bravely standing up and reciting “I like Noise” at the Norfolk County Verse Speaking Competition in 1972!

 

 

 

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First Lines

31st March 2015

In his excellent little handbook “On Poetry”, Glyn Maxwell talks about a poem’s conception, the poem arising “from the urge of a human creature, once, upon a time – to break silence, fill emptiness, colour nothing with something, anything.”

 

He invites us to think about the opening line of any poem as the precise moment at which the pressure of that silence breaks into an utterance that has to be heard. Maxwell suggests letting photography help us think about this, imagining any first line as a photographic frame. Imagining this as a “snapshot” encourages us to slow down our reading, to really think about the moment at which this voice starts to speak, where it’s coming from and its orientation to us, its readers and hearers. Maxwell suggests these key questions:

“How much of the frame is taken up by the face of the poet? Is his or her whole figure in the poem, is he or she farther away? Back to you, gesturing in the distance? Hovering spectrally above? Seated, standing, walking? Is the picture in colour? What does he or she think of you? Can you be seen at all? Is the poet present at all?… Consider how he or she is there, how the poet is imprinted on the poem.”

It’s a set of questions that can take us a long way, just with the first line. At another point, Maxwell also suggests storyboarding as a creative way of getting inside a poem. Try it in conjunction with his ideas about opening lines and interesting things happen. Take a storyboard sheet and use the final frame to visualize the moment of the opening line. Then fill in the four or five frames before that. What happened to cause such a build up of pressure that the first line became inevitable?

Try this with any line of poetry you like but the Poetry By Heart website could help students find their own favourites. From the homepage of www.poetrybyheart.org.uk click on “Resources and Downloads” and then “Index of First Lines”.  This is an A-Z list of the opening lines of the 200+ poems in the Poetry By Heart timeline anthology, hyperlinked to the full poem pages. Alternatively, from the “Resources and Downloads” page click on “Learning Resources” and you will find a pdf of the index of the first lines that you could download and share.

To go further, give students the first and last lines, and consider how the poet might get from A to B before reading the whole poem. You might explore the first line and then have students writing one or more next lines to explore where it might go and then where the poet took it. And if your students are planning to enter the next Poetry By Heart competition, it’s another way of exploring the poems to find ones they might want to commit to memory.  Taken completely out of context, they offer surprising and delightful little voyages of discovery.

 

Julie Blake is the co-founder and co-director of Poetry by Heart. Pictured here at the opening of Poetry by Heart 2015 at Homerton College, Cambridge University March 2015

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Poetry by Heart in York

18th March 2015

Above: Winner Georgina Watkiss and Poet/Judge Helen Cadbury

 

University of York students Kate Murphy, Laura Wood and Becky Goodwin share their experiences of a PBH County Contest at York Explore – the venue for the North Yorkshire and East Riding County Contest.

 

The County Contest:

Despite the nervous excitement of the competitors, the entire day at York Explore felt relaxed and enjoyable, and the atmosphere was hugely positive and encouraging. There were cakes with the PBH logo on to welcome us with tea and drinks and the chance to relax and chat about reciting poetry before the competition started.

Teachers, parents, contestants, judges and librarians all told us about the value they placed on the competition. Here are just a few reasons why Poetry by Heart offers such a fantastic opportunity to everyone who gets involved:

It’s something different to get involved in. Frances Postlethwaite, Explore Library’s Children and Young People’s Librarian, said how the competition caters for an age group not often seen in libraries, and that it was nice to see young people in such a positive light. The parents we spoke to also valued the competition for encouraging students to do something different: poetry often seems less relevant to young people, but Poetry by Heart gives students a way of engaging with it on a very personal level.

The opportunity to engage with poetry in the way it was intended to be enjoyed: out loud!  When we spoke to the judges after the competition, they were impressed by the contestants’ successful engagement with difficult themes such as war. It was clear that the interpretation of the poems they gave came from the contestants themselves, and the dramatic aspect was clearly something the students enjoyed!

The competition element and excitement of competing beyond school level. The regional event was particularly exciting, with judges from various backgrounds covering creative writing to academia.  Georgina Watkiss, the winner from Ripon Grammar School, spoke of how she enjoyed speaking to contestants from different schools. At the final prize giving it was clear from the nervous excitement that all the contestants were fully invested in the competition, and went home with a clear sense of achievement (and quite a lot of cake)!

The winner:

Despite Georgina Watkiss’s three fantastic recitals, when finding out that she won the Yorkshire division of the Poetry by Heart semi-final, she was what could only be described as gobsmacked, although this does reflect on the extremely high standard of performances presented on the day. However, what is somewhat more surprising are the A level subjects that Georgina studies. The majority of students competing at the Yorkshire semi-final studied English literature, and as a result it was easy to see where their love of poetry and drive to enter the competition stemmed from.

On the contrary, Georgina doesn’t study English literature and rather than immersing herself in the humanities, Georgina studies maths, biology, chemistry and psychology. Therefore, it is especially impressive that Georgina did so well, considering that poetry is purely a hobby for her. Georgina commented, “I can’t really spell and I’m not very good at it but I really like poetry”.

However, although Georgina certainly spent a great deal of time practicing by herself in her room, the English department at Ripon Grammar School supported Georgina leading up to the competition and on the day.

When choosing the three poems for the competition, Georgina noted that it was initially daunting as the anthology was so big, however she knew that she wanted poems that contrasted. Georgina’s elder sister, being a “huge Oscar Wilde fan”, helped her to pick The Ballad of Reading Gaol, whereas Georgina chose The Wedding as she liked the way in which it built up using similes, and finally Rain, a poem which she knew of before the competition and really enjoyed.

When asked what she thought of the competition, Georgina commented saying, “The competition is great because it’s different and poetry is supposed to be spoken, and through saying it out loud you can often understand it better than simply reading it”. Furthermore, the judges said that through trying alternative accents when reciting poetry, you can learn so much more about the poem due to the change in rhythm and stresses on distinctive words and phrases”.

Georgina’s win at the Yorkshire division semi-final is not only an impressive feat, but also proof of the accessibility of the competition. Although, Georgina doesn’t study English literature A level, her love of poetry and enthusiasm for it to be read out loud secured her a first place position.

Teacher  involvement  from The Mount school in York:

How we are involved: We have participated in the competition for the last three years and Mount students Niamh Devlin and Amelia Cook went on to win the county competition and perform at the Final. Both students comment on how it has really opened their eyes to the power and beauty of spoken poetry. Interestingly, I think participating in the competition has also really improved my students ‘ability’ to respond to poetry in a more exploratory manner, in their written work. We think ‘Poetry by Heart’ a wonderful and very valuable initiative in promoting the love of and deeper understanding of poetry.

What we do:  At The Mount we get all students in Years 10 and 11, plus our Sixth Form Literature students to learn one of the poems for an initial, internal round. We get the GCSE students to make the poem a presentation, with an introduction about the poet and a personal response to the poem – this can then also be assessed for Speaking and Listening purposes. We get Lower Sixth pupils, who are studying AQA Spec A, to learn a poem from WW1-their chosen area of study-and Year 13 students to learn a ‘Love’ poem. Their area of study is ‘ Love through the Ages’. We also publicise the competition more widely and encourage any student, if she so desires, to participate, regardless of whether they are studying English Literature or not. Once we have selected class/year group winners, we have an internal competition, where the students recite their chosen poems. The winner goes forward to the County final.

The County Contest: The Mount participants and myself thoroughly enjoyed the experience at York Explore this year which was a lovely venue and as always, at Poetry by Heart, the support staff were delightful and what really strikes me about the competition is how friendly and supportive the whole experience is for students. Even though our representative Isobel Sygrove, was not a winner, she found the experience very enjoyable and particularly welcomed the opportunity to hear how the same poem can be interpreted in different ways.

The Future…

As everyone involved in the competition spoke so highly of it, it seems natural to talk about the future of Poetry by Heart. Now in its third year, the competition has been growing steadily in reputation. However, a question posed by several people that we spoke to was: how do we get more people involved?

Teachers Simon Chapman and Fiona Holland (Woldgate College) stressed the importance both of getting children involved with poetry, and of finding a way to make space within the curriculum pressures for those children who really do enjoy poetry.  This competition seems like a perfect way to do that, and in fact, Woldgate College suggested getting children involved from a younger age.

The competition is open to years 10 – 13, but perhaps engaging children in poetry, specifically this kind of performed-poetry, from a younger age would encourage more students to get involved when they reach year 10. It was noted by everyone we interviewed that the performance element really brought something special; it was clear that these poems had come to mean a lot to the young people reciting them.

Parents of one of the competitors on the day mentioned how valuable the videos of previous winners performing had been, telling us that they made the competition and the poetry less daunting.

The videos showcase the competitors, and also what the competition is about. Poetry by Heart isn’t about being a professional poet, or a professional performer; it’s about the students using their own voices, and their own interpretations to really connect with a piece of poetry, and then pouring that emotion into their performances. The video resources are a really important way to demonstrate to those taking part (and to those thinking of taking part) that, as Georgina, the winner on the day, declared: they can do it!

These videos are readily available on the Poetry By Heart website, so let’s spread the word!

Finally, Georgina told us that she would definitely do it again, and would definitely recommend it to others- surely that glowing review will inspire you to get involved? But if not, how about this quote from Don Paterson (courtesy of Hugh, one of the judges on the day): “Most of us can’t own a Leonardo, or a Turner, but if you know a poem by heart then you’ve got one of the world’s great masterpieces”.


About the Authors

 Kate Murphy – I’m a second year History of Art student. I was keen to take part in the PBH work placement as I thought it would be a great opportunity to get involved with something happening in York. Also I  loved the poetry competitions at school when I was little, so the idea of revisiting that but seeing the poetry recited at a higher standard really grabbed me. I was curious and excited to see the performances.

Laura Wood – I’m a second year undergrad studying English and Related Literature. I am really passionate about educational opportunities outside the classroom, and knew about Poetry by Heart from college, so I thought it would be a fantastic thing to get involved with.

 Becky Goodwin – I’m a 3rd year English language and linguistics student. I wanted to get involved in the project because, as a drama-lover, I really liked the  sound of the poetry recital competition.

 

 

 

A view of  Poetry by Heart from Ripon Grammar – Georgina’s School

 

Here at RGS we have followed the Poetry by Heart scheme from its quiet inception three years ago.  Nationally, and within our school, it is growing steadily, and is particularly appealing to students who aim to pursue any career which might involve public speaking.

However, it has also given us a new focus on poetry.  In July a former student, Dr Paul Hullah, visited to speak at our annual prize-giving.  He attended RGS in the ‘70s and is now Associate Professor of British Literature and Culture at Meiji Gakuin University in Japan.   Dr Hullah is also a published author and poet and during his visit he shared his detailed knowledge of the Haiku, running workshops where students produced some fabulous work of their own.

In 2015 we wanted to extend Poetry by Heart and encourage more of our students to take part.  Therefore, in celebration of National Poetry Day, we ran it as a House competition and involved all year groups.  Each of the four school Houses sent representatives and we ran a series of heats at lunchtimes, using the same criteria as Poetry by Heart.  Lower School students could choose any poem, while the older ones had to use the Poetry by Heart anthology. House points were awarded to the successful contestants.

Prior to the competition we took the opportunity to involve our Patron of Reading, Dave Cryer (www.davecryer.co.uk), who ran a ‘hints and tips’ workshop for the contestants on performing poetry out loud.

The school final was held in the library during lunchtime and the performances were wonderful, with all the competitors doing themselves proud.

RGS competitors and judges

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The judges for the competition were Mrs Mars, English teacher, and Simon Edwards, proprietor of our fantastic local independent bookshop, Little Ripon Bookshop.  Mr Edwards commented:

“Thank you for the lovely opportunity to judge the Poetry by Heart Upper School Heats. All the contestants were confident and well prepared and they had chosen some very interesting and challenging poems. I’m sure that the winner will do very well in the next round.”

Juliet, one of our impressive competitors, said:

“We had to select one poem from a given list and learn it well enough to perform, being judged on criteria such as ‘voice and articulation’ and ‘evidence of understanding.’ We all then performed our poems on the Friday in the library with a special guest judge, Mr Simon Edwards of The Little Ripon Bookshop. I must confess that it’s a nerve-wracking experience (certainly not helped by the fact that I left learning my poem until the last minute) but very enjoyable to hear everyone’s takes on their respective poems.“

We are hopeful that some of the younger students will be enthused and will themselves take part in the national competition in a few years’ time.

Of course, the main objective was to find our school winner.  This was Georgina Watkiss, who then went on to represent Ripon Grammar School at the county contest which was held in York on National Libraries Day last month.

We were welcomed to the fantastic, newly re-opened Explore Library York.  Georgina and the other county finalists had the opportunity to take part in a pre-contest workshop to warm them up and then the performances began.  The level was extremely high, with all eight contestants giving fabulous recitations of their poems, and we were delighted when Georgina was announced as the winner of this county contest!  As I write Georgina and I are preparing to travel down to Homerton College in Cambridge for the regional and national finals, and are looking forward to meeting the other competitors and their school chaperones for what promises to be an experience we will never forget.

I am lucky to have a very supportive English teacher, Helen Mars, who is my ‘partner in crime’ for Poetry by Heart.  When she recently attended a cluster meeting with local primary staff she put forward the idea of a competition based on Poetry by Heart for Year 6 children.  The new National Curriculum programme of study for Upper Key Stage 2 includes “preparing poems and play scripts to read aloud and to perform, showing understanding through intonation, tone, volume and action”, and so this suggestion was met with enthusiasm.

We now plan to pilot this scheme in the Summer Term this year.  We will encourage local primaries to hold their own poetry recitation competitions to a find a school representative who will then attend a final event hosted here at Ripon Grammar School.  Helen and I will put together an anthology of poems from which they can choose.  The event will consist of a poetry masterclass and the final, where the Year 6 champion will be crowned.  I am really looking forward to this development, so watch this space!

Mrs Dring

Learning Resources Manager/Literacy Co-ordinator

Ripon Grammar School

 

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Planning the Unplanned Lesson – Poetry by Heart in the Classroom

12th February 2015

Pietro Zanarini 2010 How to Mind Map – Creative Commons

Poetry By Heart Regional Development Coordinator for the North West, Karen Lockney and Head of English, Susie Cooke at Queen Elizabeth Grammar School, Penrith discuss the lesson that refused to be planned!

 

Walking into a classroom about to teach a lesson you know you could have spent longer planning, is obviously not the best thing to do with Year 10 last thing on a Friday. Yet this lesson was deliberately unplanned (beyond the most skeletal of outlines). It’s lack of potential to be planned was part of the lesson’s very concept – it offered risk and, like risks tend to do, it offered opportunity.

The aim was to use Poetry by Heart web resources to introduce pupils to poems that would be ‘unseen’ to them, but crucially ‘unseen’ to us as teachers also. We would look at poems that neither we nor the class were likely to have seen before, and try to read and respond to them together. ‘We’ll read poems with you’, we said, ‘but be warned, we might not be able to tell you exactly what they mean, we might not even be able to fully understand them yet ourselves’.  They didn’t look 100% convinced.

However our intention was to develop confidence in dealing with unseen poems as part of their exam preparation. Their views on such questions are probably not atypical: ‘We might not understand it’, ’What if we don’t find the correct meaning?’ There it is, the ultimate fear that a poem has a ‘correct meaning’ to be teased out, and even worse, teased out in the pressure of an exam room. The idea of the ‘unseen’ poem may pose a particular challenge as classes cannot be prepared in the same way as they are for named anthology poems, for instance.

We showed the class the Poetry by Heart online anthology. It has a fantastic feature called ‘random dip’ (clearly accessible in a yellow box on the home page). Press this and any one of  over 200 poems will appear. True, we know some of the poems on the timeline, but we agreed that we’d be honest about this and tell the pupils if we had a significant head start. In fact the first poem generated was ‘Blackout’ by Grace Nichols which neither of us knew.  The poem was read out and the pupils were simply asked to note down and discuss images which leapt out to them, which we then discussed together. The overall context did not present itself straightaway, but most of us immediately felt a powerful mood of danger, and we honed in on images and language which gave us that feeling.

All well and good so far, but we were keen to move on. This was all going to be light touch, emphasising the idea that encouraging confidence with poetry comes with frequent exposure that is sometimes very light touch indeed, ‘little and often’ poetry reading, vehemently denying the urge to analyse every poem to within an inch of its life. Easier said than done though, as we realised when we got ready to generate the next poem and one girl said, ‘But what does this Nichols one mean?’, pen in hand, ready to scribble our pearls of wisdom down. Our response seemed counter-intuitive: ‘We aren’t entirely sure yet, but we are interested in going back to it later’. It’s more difficult than we might think to tell a pupil directly that we aren’t going to tell them the answer because we don’t know it ourselves yet, but this was at the crux of what we hoped to illustrate.

We then used the timeline filter (click ‘filter timeline’ in the grey bar at the top of the anthology page). With a glee for the macabre the pupils chose  the ‘Nasty Ends’ category and then ‘How to Kill’ by Keith Douglas. We spent longer on this poem, asking each group to learn a 4 line stanza by heart, putting these together so we had a fairly informal class recital. They made light work of this, and it allowed us to ask them more about their own stanza, and what they noticed in those they heard from others. We talked about whether their increased intimacy with the poem had developed understanding. Some very powerful personal responses emerged about humanisation within the dehumanisation of war. Pupils tentatively offered readings and were asked to justify them. ‘But I’m just not sure if I’m right’, insisted one girl, and we encouraged her to see that could well be an A* type of comment to make, provided the justification was there, and it was. Some of us thought the weapon in the poem a grenade, others a rifle. Which was ‘the right answer’ ? We debated this, searched for clues, wondered how we’d feel in an exam offering our thoughts. A great feature of the anthology is that there are some fantastic notes under each poem, just enough to give pointers and direct further thought. Having decided it would be OK in the exam to suggest either possibility about the weapon, we looked together at the notes. Lo and behold, they suggest there isn’t clarity in the poem. The right answer was that there was no right answer. In terms of the lesson, this was a godsend; we couldn’t have planned it better if we had planned it.

This was the first of regular, sporadic lessons with the ‘little and often’, ‘light touch, deep meaning’ approach, and they will of course complement other lessons where pupils spend much more time with poems, often in more structured contexts. But this sort of risky, ‘let’s see what we get’ lesson does, we feel, have its place to raise confidence with  poetry, to take it off its pedestal a bit, allowing the brilliance of lines, images, ideas within poems to shine briefly and randomly, and to allow fresh, personal response to emerge with increasing confidence.

From left to right: Karen Lockney, Andrew Forster, Poet and Literary Officer, Wordsworth Trust and Chair of Judges for the Cumbria Final; Susie Cooke and Nikhil Choudhury, Cumbrian Champion and Year 10 student at Susie’s school.

 

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Teesdale School and Poetry By Heart

1st February 2015

Chair of Judges author Anne Fine

Teesdale English teacher Cassie Flint reflects on the use of Poetry By Heart in the classroom.

 

Teesdale School had a great start to the competition with the delightful presence of award winning author Anne Fine as our chief judge. She had some really inspirational comments to make about our students and hopefully this will help them in the next round. We also had an international judge as a colleague was visiting from Pakistan, where the oral tradition remains remarkably strong and recitation of poetry  is, for many students, a daily experience.

Teesdale competitors and judges

Our school is partnered with a school in Abbottabad which is in the north west of Pakistan where I visit each year. Each day  begins with a recitation of a passage from the Qu’ran. As a result of being a judge on the competition, Rafia Naz, our partner from Pakistan is going to be running a Poetry by Heart competition in the school in Abbottabad. The national poet of Pakistan is Allama Iqbal and he is much loved, as we love Shakespeare. Here is one of his poems

 

 

The Age of Infancy

 

The earth and sky were unknown worlds to me

Only the expanse of mother’s bosom was a world to me

Every movement was a symbol of life’s pleasure to me

My own speech was like a meaningless word to me

During infancy’s pain if somebody made me cry

The noise of the door chain would comfort me

Oh! How I stared at the moon for long hours

Staring at its silent journey among broken clouds

I would ask repeatedly about its mountains and plains

And how surprised would I be at that prudent lie

My eye was devoted to seeing, my lip was prone to speak

My heart was no less than inquisitiveness personified

Recitation by girls at the school in Abbottabad

We had prepared for our Poetry by Heart competition by having an extra session of our weekly Poetry Club: in one of these we decided to do a Memory Workshop, chiefly to help our entrants to think about which ways would work best for them in the task of memorising poetry. The main technique we tried was the use of the ‘memory palace’ which  works both visually and by association – and it seemed to work for our students . Here are some useful sites if you are interested in finding out more. We took the verse we were trying to remember and found an image from the first line and made that image as ridiculous and as larger than life as we could, so for example, in Mary Robinson’s Female Fashions for 1799 ( from the Poetry by Heart Anthology) when the first line is

A form, as any taper, fine;

it would make me think of a form, the ones I had to leapfrog over as a primary school child, brown varnished wood and little rounded rubberised feet which cushioned it on the floor- this one would be very bendy and it would be standing on the path outside my front door.

Then, inside the front door there would be a very long thin taper, made of white wax and attached to its side was a massive parking ticket – with that black and yellow edging to it- telling me I had got a fine…..and so it goes on as you construct a whole building ( or palace) within which the strong visual images from this poem will be contained.

Usually in our Poetry Club we do something which we’ve named ‘Wild Writing’ where we devise different ways in which to write poetry both individually and collaboratively. We are a mixed group, though usually sixth form students and a few teachers. One of the early experiments we tried was to do this:

  • Select One from :
  • Playing with the idea
  • Experience
  • Concept
  • Narrative

and then having identified  a ‘way ‘ to write we then came up with a list of words. Our first ones were: element, bus, oak and yellow. We then wrote poems using these parameters.

We also tried our hand at writing song lyrics, writing two lines each, a villanelle and found inspiration from the poetry of the Argentinian poet Alejandra Pizarnik ( whom we have recently discovered).

Here is one of our collaborative ones;

My cane, my pocket change, this ring of keys,

striding out along the midnight sidewalk:

I am painted in navy blue and the

thin strips of luminescence cast down by the moon.

The calm footfall is a son

only I hear.

Lately though we have been looking through the Poetry by Heart timeline and selecting ones to read and give our reactions to as we prepare for the next round of the Poetry by Heart Competition.

 

Memorising poetry

TED talk on memory

How to use a memory palace

 

Cassie Flint

I have been an English teacher for many, many years and throughout all the changes I have seen, the one constant in all my English teaching has been my love of poetry. I have written myself since I was a young girl and maybe, being the daughter of a novelist, in a way encouraged me. I grew up in St.Ives in Cornwall at a time when there were great artists there and I met them as my father’s friends. For that reason too the sea and the literature which asks the big questions in life appeal to me.  In my later years I have begun to travel and have been lucky enough to be part of a British Council Connecting Classrooms Project which takes me to Pakistan and to work in a school there each year. You might be interested in an article I published on my last visit: http://www.theguardian.com/teacher-network/2015/jan/07/schools-taliban-power-of-education

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Why Poetry?

19th January 2015

Chew Valley Participants at their Poetry By Heart competition.

Deputy Headteacher Chris Hildrew reflects on the importance of poetry in his personal and professional life and his commitment to his ‘Poetry Promise’.

 

This year, I have made a Poetry Promise. My promise is to mark each month of the year with a favourite poem, shared online, with an explanation of why that particular poem is so special to me. The aim of the Poetry Promise is to raise the profile of Poetry by Heart and, by extension, share the love of poetry itself. How could I say no? I was knee deep in favourite poems on New Year’s Eve, trying to find that one I wanted for August!

Reflecting on my choices, I took stock of my relationship with poetry. Poetry has always moved me, really ever since I can remember. But it was at secondary school that it took hold of me, truly possessed me. I wrote tortured teenage verse in my diary, tried in vain to write a sestina that worked, and sat back in awe as my A-level Literature course took me on a tour through time from Chaucer to Heaney. It was the work of Sylvia Plath that was, and remains, my all-time favourite. Reading her work left me feeling like the hanging man in her poem of that name: “By the roots of my hair some god got hold of me.” I sizzled in the electricity of her verse.

As a teacher, I’ve always looked forward to teaching poetry. There’s something magical about unlocking it, about seeing it click into place in a student’s mind. Poetry never fails to provide those lightbulb moments. But what is it about poetry that makes it so distinct?

One of my favourite lessons that I planned as an NQT, and still use today, is an introductory lesson for A Level literature. In it, I present a series of texts: some prose, some poetry. Some of them are presented as written, others disguised: poems laid out like prose, prose laid out like poetry. I challenge the students to see through the disguises, with the aim of answering the question: what makes a poem a poem? The answers don’t really matter; the discussion is always mind-bending.

From years of teaching that lesson, I think I feel comfortable with the answer “a poem is a poem if we say it’s a poem.” Because the act of saying “this is a poem” lifts the language “above a common bound”, and gives it muscle. Words in poems have extra heft, like they’re loaded with lead shot; but they are nimble, their associations skipping across the page like spiders on a web.

When the occasion demands it, only a poem will do. Wedding, funerals, falling in love, the pain of goodbye…at these moments, dribbling prose won’t cut it. Only the poem can do the emotional heavy lifting required by these landmark events. That’s why the poet laureate is still such a key role, as Carol Ann Duffy has been admirably proving since 2009, in capturing landmarks in our national life. I still think “Translating the British” did a wonderful job of capturing the spirit of London 2012.

Chew Valley Poetry By Heart participant.

As a teacher in a school it’s my job and my pleasure to open up the spinning world of poetry for young people, not so they can pass exams and memorise the difference between a trochaic and an iambic rhythm, but so they can sit back with their eyes shut as they try to touch the edges of the emotions they have just experienced in the words of another. When I saw our students in our Poetry by Heart final this year, I almost forgot to breathe as they animated, inhabited, lived their recitations. The head judge was moved to tears. I will never forget it.

That is why poetry.

Chris Hildrew with his Poetry Promise

 

 

 

Chris Hildrew is Deputy Headteacher of Chew Valley School near Bristol. Follow @chrishildrew and read Chris’s blog at chrishildrew.wordpress.com

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Creative Use of the Poetry By Heart World War One Showcase

2nd January 2015

Anne Caldwell introduces student readers at the World War One commemorative event in Bolton.

 

In January and Feburary 2015  the county round of Poetry By Heart will be taking place up and down the country in arts centres, libraries and museums. In forty two different venues students will be reciting not only their pre and post 1914 poems but also a poem chosen from the special Poetry By Heart World War One showcase. In another January Blog post Tom Boughen talks about new additions to the showcase whilst in this article Anne Caldwell reflects on how she made use of the showcase within a memorable World War One commemorative event in Bolton.

 

I am a poet and currently the Programme Director for the National Association for Writers in Education. I also teach creative writing at the University of Bolton, where I run a live literature series in the town to encourage our undergraduate students to get involved in the wider literary life of the North West, hear writers of all genres read their work and talk passionately about their writing lives.

As part of the First World War commemorative events, the Bolton Octagon theatre revived the play, Early One Morning,  https://octagonbolton.co.uk/early-one-morning written by a Bolton based Playwright, Les Smith to great critical acclaim. I wanted my students to also have a chance to perform in public and develop their presentation skills, so I put together an event where Les talked about his creative ideas and research for the play, and students read a selection of First World War poetry. This event took place at the end of October 2014 in a beautiful lecture theatre space in Bolton Central Library.

I had a team of four students willing to take part in the event.  We used the Poetry by Heart website, and its First World War poetry time line as a source of inspiration to choose the poems we wished to present. The event was not focussed on memorisation, but did have the aim of introducing this poetry to a wide audience and building up my students’ confidence in reading. We had a very fruitful discussion about the material on the website as the students were keen to read poems by women and German writers as well as more well known work. I hosted this part of the evening and introduced each poet, again using the biographical material from the Poetry by Heart website, to help the audience understand a little of the context of the poems. My students chose work by Owen Sheers, Wilfred Owen, Rose Macaulay and Ernst Stadler.

The audience feedback was extremely positive:

“Need more like this! Students’ own work as well.”

“Informative, beautiful surroundings and a wonderful opportunity to hear a playwright explain their process for a particular production.”

“Interesting insight on World War. Beautiful playwright.”

“Awesome.”

“Well structured –varied/interesting. Student readers –good idea, it’s an experience for the reader, as much as the listener.”

We had an audience of over fifty people, including members of the general public and other students from the University of Bolton.  One of my students had never stood up in front of an audience before and nearly backed out, due to nerves. She read beautifully. Another graduate student has gone on to perform at open mic events in the area and has had paid work evaluating Bolton’s first international poetry festival, ‘Live from Worktown.’

I am now planning further opportunities in the spring to build on this success and have invited Manchester based poet Shamshad Khan to present her poetry.  She will host an evening for my students to read their own work in public at the Octagon Theatre.  I am also using the Poetry by Heart website, (and regularly use the Poetry Archive in class)  with my undergraduate students to help widen their knowledge and reading of poetry, which can only strengthen their own creative output.

a.caldwell@bolton.ac.uk

Further information on Creative Writing at The University of Bolton:

http://courses.bolton.ac.uk/Details/Index/1626

Further information on NAWE:

www.nawe.co.uk

My current poetry collection: Talking with the Dead, Cinnamon Press,

http://www.cinnamonpress.com/product-item/talking-to-the-dead/

 

Anne Caldwell

Anne grew up in the north-west of England and now lives in West Yorkshire. Her poetry has been published widely in the UK. She teaches creative writing at The University of Bolton, and is just about to take up a new position as the Deputy Director of  NAWE – the National Association for Writers in Education. www.nawe.co.uk.  Her poetry collection, Talking with the Dead, was published by Cinnamon Press in 2011.  ‘Anne Caldwell’s poems deal passionately with grief and birth, love – and lobsters.  They are intensely alive, flighty as young animals; powerful and varied as the sea.’ Alison Brackenbury.  http://annecaldwell.net

 

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Introducing Poetry By Heart at Simon Langton G.S. for Boys

12th December 2014

Image courtesy of the Simon Langton School website

Poetry By Heart at the Langton

I have always loved reading poetry. Poets seem to have that knack of explaining things that we don’t know that we know. But when poetry is on the curriculum horizon there is a cacophony of sighs and complaints in my classes so the question was: how can I possibly get our boys interested in learning poetry?

 

I needed something to spur things on so I decided to film a montage of rap artists and teachers reading poetry; teachers who one would not expect to be interested in poetry. A physics and maths teacher very kindly obliged. And then I had a brainwave (well so I thought)! If only I could get our Director of Rugby to read a poem on my montage then maybe I could convince the boys that poetry was for all sorts of people not just bookworms like myself. I plucked up the courage to ask him and hoped that he wouldn’t think I was completely bonkers. How wrong could I have been? Nicky was so kind in giving his time and immediately said that he would recite a poem that his coach had read to him and his team during his time as a  Fijian international rugby player – ‘The Man In The Glass’ by Peter Dale Wimbrow Sr.  Result! I played this montage to my year 10 class – they cheered when the rap artists and teachers came on but there was a deathly silence with mouths agape when Nicky read his poem. I felt that I had scored a try!

 

Simon Langton G.S. Director of Rugby Nicky Little reciting, ‘The Man in the Glass’ 1934 by Peter Dale Wimbrow Senior

 

Now they keep asking me if I will make another film with other teachers (planned for the New Year) and poetry lessons with  this class are just delightful and engaging. I’d like to think that the montage helped in many ways to neutralise an inbuilt fear of poetry. But, to be honest, it didn’t help me to get potential competitors queuing round the block!

I was so lucky to have such delightful sixth form students who volunteered through seeing the Poetry By Heart posters, strategically placed around the school.  Our competition preparation was very enjoyable. A local poet, Lynne Rees, conducted a ‘Making it Mine’ Masterclass where the competitors spent a relaxed morning discovering and exploring nuances in meanings in their chosen poems. I also gave one to one lunch-time coaching sessions leading up to the competition day. I really wanted the big day to strike a relaxed yet formal note. I think we managed that with cake and biscuits while the judges did their task. We had some wonderful recitations – particularly from our winner who really opened my eyes to a new understanding of Plath’s ‘Morning Song’ and our runner up who had us in stitches with ‘God, A Poem’ by James Fenton.  Now we’re really excited getting ready for the regional final to be held at the Gulbenkian theatre at the University of Kent on January 16th 2015.

I’ll be honest – I had never learnt a poem before and I was not convinced that learning one would help in my understanding. But attending the Poetry by Heart workshop in October at the British Library in London turned me into an avid convert and gave me a wonderful opportunity to develop my teaching of poetry. I decided to learn ‘The Dancers’ by Edith Sitwell. At every opportunity, in the shower, driving to work, weeding the garden, I would try to recite it. I can confidently say that my increased love for, and understanding of, this poem has been overwhelming through learning it. We have a new way forward now – I’m developing more masterclasses with Lynne across the three key stages to introduce all students to the magical world of learning poetry.

 

Liz was born in Newcastle under Lyme and read Human Biology at Loughborough University. She thoroughly enjoyed working for the next nineteen years in scientific and pharmaceutical research. Nevertheless, on being made redundant, she took the plunge and chose to have a change of career going back to her first love – literature. She read English literature at Kent University and completed a PhD researching early modern women writers. She now teaches English at Simon Langton Grammar School for Boys in Canterbury , Kent.

 

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Introducing Poetry By Heart to the Primary Sector

2nd December 2014

She Sells Sea Shells by She_Who_Must 2007 Creative Commons

Last week saw Poetry By Heart Director, Julie Blake, taking Brighton University first year Primary Education undergraduates through their poetry performance paces!

 

Starting with some rhythm and rhyme, and not a few comic images, we kicked off by creating a register poem. I couldn’t remember the names but I could remember the cat-lovers and the girls whose names rhymed with frilly! A couple of tongue-twisters got us warmed up for reciting fast and slow, loud and low, after which we went for the full body workout with John Foster’s ‘The Dinosaur Rap’. Pity the class on the floor below… We needed a rest after that so we experimented with storyboarding as a method for really getting inside Robert Louis Stevenson’s ‘From A Railway Carriage’ and had it memorised as a class (each person taking a couplet) within half an hour. I finished by putting my money where my mouth had been all afternoon, and recited Irene McLeod’s ‘The Lone Dog’.

But why? Poetry By Heart is for 14-18 year olds? Well, since we launched in 2012, learning poems by heart has been inscribed in the National Curriculum for primary education and we have had very many enquiries from primary teachers and advisors asking us if we can help. Always happy to share what we’ve learned and to collaborate with interested colleagues, we are now working on a primary resource pack. Well, to be honest, we’re not quite sure yet if it will be a primary resource pack, or a Key Stage 2-3 pack, and we welcome all opportunities for dialogue, trialling and piloting. Please get in touch if you’d like to join the conversation:  info@poetrybyheart.org.uk.

Meanwhile, during 2013-14 we were delighted to collaborate with Dr Josie Brady and her PGCE Primary students at Birmingham City University on an action research project. Dr Brady reports on their experience here:

The NATE Conference and the Poetry by Heart Primary Project: A highlight of an academic year.

A real highlight of the 2013-14 academic year for me was the Poetry by Heart Primary Project as helping PGCE Primary students to develop pedagogies for poetry as a verbal art in primary and early years classrooms was both a tremendous challenge and a great joy. The NATE conference in Bristol in July marked the culmination of this endeavour as a group of my PGCE students presented their ideas, experiences, reflections and findings to an audience of teachers, academics and consultants.

Presenting at the NATE conference Bristol July 2014

Looking at the above photo now, I still feel that rising swell of pride and I know students were overjoyed at the positive responses they received. Thank you NATE delegates and thank you Poetry by Heart for making the project possible and supporting us along the rocky way!

Before I sign off, I leave the last words to two of my students, Emily and Kate, who are of course, now fully qualified teachers enjoying and enduring the highs and lows of busy Autumn terms.

“Being part of a project that has collaborated with Poetry by Heart has been a fantastic experience. I had undertaken a very successful project on poetry memorisation in a primary school with thirty 7 and 8 year olds and needless to say I was apprehensive about the outcomes initially. However, I found that not only did the children gain a lot from the project but I did too. My enthusiasm and knowledge of poetry, and poetry from memory, has dramatically increased and having the opportunity to discuss the outcomes at the NATE conference is something that I will always treasure. The support from Poetry by Heart, Julie and Tim in particular, has been fantastic and this collaborative project, I feel, has been extremely successful. The thought of implementing poetry memorisation and recitation into primary schools is now such an exciting thought and I think I can say that speaking not only for myself but other PGCE graduates who were involved in the project too.” Emily

“Going to NATE and sharing, alongside fellow students, my learning journey with professionals was a fantastic experience. Just to be able to hear other people’s opinions on what we have done and where we could go from there was very interesting. It gave me fresh insights which were truly enlightening.”  Kate

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The 3 Rs: Rhythm Rhyme and Recitation

13th November 2014

Photo by Fay Lofty

I am in the extremely fortunate position of working with teenagers for a job and so initially when invited to contribute to the Poetry By Heart blog I thought I’d write a piece about teenagers and poetry.   Just recently, however, I have had conversations with three people at different points on the great spectrum of life and a common theme emerged in our conversations which took me to the heart of Poetry By Heart. I have had the delights of conversing about poetry with a pre-schooler, a teenager and an octogenarian and this is what I learned.

 

Let’s reverse the natural order of things and consider the octogenarian first.  Belinda read English Literature at Cambridge University during the Second World War and today, in what some people might foolishly consider her dotage, is the sharpest mind I know.  Her greatest solace is her mind’s ability to recall Seamus Heaney, Shakespeare, Frost and Donne when her body fails her and this, she argues, is the reason her brain is still fighting fit when other parts are less so. Not just lines but entire poems come back to her as easily as my mobile phone number comes back to me.  She uses this ability now to connect to people and to give them an insight or frame of reference for her world.  Reciting Shakespeare’s Sonnet Number 71 in its entirety with its ear-catching iambic pentameter and powerful half-rhyming couplet to end, gives her comfort and leaves her audience wanting another poem and in no doubt as to the state of her mind.

Going to the middle of the spectrum takes us to a delightful young man, spoken word poet and playwright, Tommy Sissons who has just finished his A Levels and is about to go to university.  Interested in what teenagers find engaging about poetry, I asked Tommy to tell me why he loves poetry and this was his reply:  ‘I came to love poetry almost purely through the form of it being spoken. I’ve always enjoyed reading poetry but I find personally that you can connect with verse so much more when it’s performed out loud. You can appreciate the rhythm of the words and the emotions behind the poem a lot more.  A lot of teenagers can see poetry as a dry, old-fashioned form of expression but they’ve only been taught the work of poets that have been dead for hundreds of years in vernacular that modern youth can’t always relate to. When they are presented with spoken word (in a modern form) it speaks to them. I know lots of people my age that have come to love poetry through spoken word.’  I found the genre of rap very hard to access and Tommy was the first person who managed to get me to understand and enjoy rap – which is, as he says, arguably the vernacular of teenagers and relies heavily on rhyme schemes, solid rhythms and being made audible. Poetry By Heart may be occupying a slightly different space in the performance of poetry but it recognises and celebrates the acoustic quality of poetry.

My final conversation was with a four year old and was about the delights of the Gruffalo by Julia Donaldson.  I asked this small person what her favourite poem was and she trotted forward with a mauled copy of Donaldson’s book.  We read it together (twice), both enjoying the familiar cadences of a much-loved and familiar work.  I noticed that while I was reading, her lips were moving and asked her how much of the book she could remember.  She could recall nearly all of it with a few prompts which were related to the rhyming pattern.  When I asked her what she loved about it and why she’d chosen it as her favourite, after some consideration she replied, ‘it’s like dancing, only with words.’ And maybe whether we’re eight, eighteen or eighty that’s what we are doing when we get up and recite a set of words in our head – we’re dancing with words.

About the author

Fay Lofty works full-time as a Widening Participation Officer at the University of Brighton on an outreach programme with young people.  She has a BA (Hons) in Literature from The Open University and is currently doing an MA in Education at the University of Sussex.  In any time considered ‘spare’ she reads and tries to write.  She also runs a bookclub in the very small rural Sussex village where she lives and encounters many other inspirational readers and writers.  She has two daughters.

 

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