Posts Tagged poetry
Ali Alizadeh is a poet listed on the prescribed text list for the senior English/EAL courses in Queensland from 2019-2021.
He is an Iranian-Australian (Persian-Australian? would appreciate any correction in comments), currently living in Melbourne and working at Monash university.
Both my creative writing and my literary scholarship interrogate the collisions between the political, the personal and the historical. Radical subjectivity, philosophies of history and theories of art are of particular interest to me. (Alizadeh’s bio, July 2018)
I searched for some preliminary resources for teachers wanting to learn about Ali Alizadeh, and here is what I found:
- Staff profile for Alizadeh at Monash University: http://profiles.arts.monash.edu.au/ali-alizadeh/
- Poetry International Web bio (with several linked articles): https://www.poetryinternationalweb.net/pi/site/poet/item/14574
- Poetica episode from 2nd November, 2013 (39 mins): http://www.abc.net.au/radionational/programs/archived/poetica/ali-alizardeh/5026248?
- Writers Victoria – Ali Alizadeh interviewed by Michelle McLaren, 24 May 2016: https://writersvictoria.org.au/writing-life/on-writing/exploring-the-distance-between-now-and-then
- Overland article – by Tara Mokhtari, June 2011: https://overland.org.au/2011/06/ali-alizadeh%E2%80%99s-%E2%80%98ashes-in-the-air%E2%80%99/ (loved this article!)
- Australian Book Review – review by Gig Ryan, April 2011: https://www.australianbookreview.com.au/abr-online/archive/2011/241-ali-alizadeh-ashes-in-the-air (full article is paywalled)
The earlier two volumes are called:
eliXir: a story in poetry, Grendon Press, Mont Albert, 2002
Eyes in Times of War, Salt Publishing, Cambridge, UK, 2006
A sample of Alizadeh’s poetry (poem extract):
Yes, I understand
your language. I’ve been learning
the lexicon of my inferiority
from behind the bars. I now know
how to spell and pronounce
the terms of my slavery. Your shackles
are called Security; your war
Operation Freedom; your cluster bombs
food parcels for my children. O master,
(extract from ‘Your terrorist’ (2006) on Poetry International Web: https://www.poetryinternationalweb.net/pi/site/poem/item/14577)
An extract from Mokhtari’s Overland article:
What really does it for me about Alizadeh’s poetry is that his subject matter is important. These poems are unlikely to bore a reader who shies away from the overtly political because they also engage in everyday scenarios and experiences. Alizadeh’s poems about cultural displacement take a different approach from many other Australian poets who write on the same theme but tend to dwell in the realm of sentimentalism (a natural, valid treatment of the theme, but one which may risk alienating un-empathetic readers). It’s as though these poems have ‘gotten over it’ just enough to allow a more sophisticated depth of knowing and exploration of the subject through everyday representations, without compromising emotion.
If you know of other resources that would interest Queensland English teachers who are considering Alizadeh’s poetry for QCE study, please consider sharing your links/info in comments below. Thank you!
This semester I am attempting to demonstrate project based learning (PBL) in action by giving both of my classes an extra-curricular project to work on.
(More about whether these projects are in-or-extra to ‘the curriculum’ in an upcoming post…)
Pre-service teachers in my 3rd year English curriculum studies class are themselves focusing on how to use a PBL approach to design learning for junior secondary English. Their final assignment involves working in groups of 3-4 to create a PBL unit of work and assessment task/criteria sheets.
So, while we are learning about PBL, we are also doing PBL. And here is the project flyer:
We’re in Week 6 of a 9-week semester, and I already know that exploring ‘ways of speaking poetry’ is going to get squeezed out. That’s OK. My original goal of using the explore phase to offer a ‘smorgasbord’ of experiences has been usurped by getting to know the students and their needs – and they need to spend time going deeper into ways of reading and writing poetry. That’s cool – one of the things I am proud to model for my PSTs is they way plans have to change once real humans are involved. This need to teach in a responsive, agile way is understandably one of the things that new teachers find confronting, but ultimately it’s what effective teaching requires.
I’m at that critical stage of the project where I’m looking at the number of lessons left vs work that needs to get done to complete the project – eek!
My original plan was to get enough poetry artefacts to fill an entire display cabinet, but thankfully the cabinet has SHELVES, so our new goal is to fill 1-2 shelves only. Not a bad result it turns out, as it gives me space to run this project again next year and fill the cabinet progressively instead of all at once.
The whole project is supposed to take 6 weeks. By the second week I wished I had twice as much time! But that’s how teaching rolls, eh – PBL or no.
Will post pics of the finished cabinet display at the end of semester 🙂
Wouldn’t it be something to be recognised as a poet?
I mean, not just to be a poet – many of us write poetry, and are already poets.
But to actually be recognised for it!
To have people read your pieces and like them enough to want to share them, by giving them an award, or publishing them in a book…
Now that would be something!
Links of interest:
Something I have been sharing with my students over the past few years is the story of how I became confident enough to read and teach poetry.
You see, the truth about English teachers is that not all of them like poetry. Not all of them feel like they ‘get’ poetry, either. In fact, just like there are English teachers that hate Shakespeare, or storytelling, or debating, or essay writing, there are some English teachers that HATE poetry, and avoid teaching it wherever possible.
I was never a teacher that hated poetry. But I was a teacher that saw poetry as ‘beyond’ my understanding for many years. I knew I was supposed to ‘get it’, but I had to study what I was going to teach quite intently before tackling it in class, every time.
Oh the revision I had to do when I was a beginning teacher!
Oh how useless my university units including study of poetry seemed (and still seem)!
Luckily, I did have enough positive experiences of poetry from my youth to stay engaged – as a little kid I had some illustrated poetry books that I loved to read, and as a teenager I lived up to the classic stereotype of hormonal girl by writing maaany lines of free verse about my horrible melancholic life etc. into notebooks covered with skulls and flowery tattoo sketches.
Ahh, those were the days!
In high school English I enjoyed studying poetry, and felt very clever at it. But our study was always heavily guided by a teacher – when left to my own devices to interpret an unseen poem, I always felt lost and frustrated.
As for writing poetry, well … aside from a few haikus in junior English, I don’t recall writing any.
So what changed?
My attitude changed very quickly in my first year of teaching. Tell me if you’ve ever heard this advice:
A teacher should try completing activities themselves first, before setting them for students.
I know I’ve heard that advice a few times, and of course it’s good advice though impossible to follow all the time. However, as a beginning teacher it was clear to me that my colleagues and I were setting work for students that we didn’t do ourselves about, oh … half of the time? At least??
You see, no-one in the staff room was writing poetry, or short stories, or letters to the editor, or pretty much anything in their spare time. Two teachers in postgraduate studies would have been writing essays, but the rest of the teachers sure as shoot weren’t. Yet we were teaching a curriculum that required students to spend half of their time composing texts of various kinds.
When I realised this, what changed for me was that I decided to be more of a role model for my students by attempting more personal writing.
And that included poetry.
How does writing poetry help you like poetry?
The short answer: by providing a source of intrinsic motivation.
The longer answer: I found that trying to write poetry forced me to look at other people’s poetry in a whole new light. Just try writing a poem… if you aren’t already in the habit of it, you’ll probably find it challenging! Sometimes when I try to write a poem, the limits of my own writing ability are so in-my-face that I feel driven to go and read more examples of other people’s poetry to try to get ideas about different writing styles and tricks. There are still plenty of poems that I don’t understand, but these days there aren’t really any that I’m afraid of anymore!
Maybe I’m not completely right about this – after all, if you feel too frustrated with poetry writing, maybe you won’t appreciate other people’s attempts or even want to read any. (A message for teachers might therefore be to make sure that writing at school stays fun, so that students stay motivated and encouraged to independently learn more.)
Reading contemporary Australian poetry
Now that I actually like poetry, I’ve found out that I also actually like Australian poetry!
In a workshop by the Red Room Company with Johanna Featherstone last year, my students and I were asked to name as many Australian poets as we could. The list was woefully short and mostly full of bush poets… we agreed that day had been a wake up call for us all!
Since then I have been reading some volumes of poetry and I am very happy to recommend the following, for anyone who is keen to pursue contemporary Australian poets:
Ross and Michelle are poets that I’ve met since working at QUT, and I got to know Lachlan when he visited my class as a Red Room Company poet. Knowing a little bit about these poets has helped me to engage with their work, but honestly, they are all just bloody good! Have your library order them 🙂
Looks like the theme for this blog at the moment is VOICE!
A little while ago I was alerted to this excellent production of student work from South Western Sydney, and I’d like to share it with everyone here on the blog.
Coming to Voice is a collection of ‘literary videos’ from students at Sir Joseph Banks High School. The video production by Westside is 5 minutes long, and showcases an innovative layering of student stories, voices, and animation:
From the press release:
Thirteen students from year 7 worked with the Chief Editor of Westside Publications, Michael Mohammed Ahmad, to develop writing that was then animated by 2012 SHORTCUTS film festival winner Vinh Nguyen.
The literary video, called ‘Coming to Voice’ will be screened at an assembly at Sir Joseph Banks High School and will also be launched on the BYDS website as a new web series on August 23rd.
Digital stories, literary videos etc.
BYDS (Bankstown Youth Development Services) seems to have a range of resources relating to the local community on their website: http://www.byds.org.au/ including oral history and photomedia materials. I’m so glad that these kinds of digital arts-based resources are flourishing!
When I talk about ‘digital stories’ or ‘digital narrative’ with teachers, it can be hard to explain the possibilities for the genre. There is of course the Daniel Meadows school of thought that advocates for 2 minute, 12 frame, voice-only digital biographies. The digital storytelling project at QUT uses a similar form.
I think the folks at BYDS have cleverly carved out a different kind of genre here for what they’ve produced – a “literary video”. As the students are reading their POETRY, the production is not quite of STORYTELLING. Could they have called them “digital poems”? Perhaps. But that might distract from the multimedia nature of the production, and the way that animation and video shots add meaning to the piece.
Literary videos… I like it! Thanks for sharing Mariam!