Amy E.

Bayne
NVWP Consultant
8
th
Grade English, Stafford County
bayneae@staffordschools.net

A Poets Toolbox: Utilizing Design, Display, and 21
st
Century Media
to Teach Effective Communication through Arts Integration
This presentation was developed for and presented to George Mason Universitys
Northern Virginia Writing Project 2014 I nvitational Summer I nstitute in J uly of 2014.
Upon completion of this unit, students will be able to:
Use prior and background knowledge as a context for new learning
Identify intended audience
Use prewriting strategies to generate and organize ideas
Choose a topic and purpose appropriate to an audience
Extend general and specialized vocabulary through speaking, listening, reading, and writing
Discriminate between connotative and denotative meanings and interpret the connotation
Choose vocabulary and tone appropriate to the audience, topic, and purpose
Organize details to elaborate the central idea and provide unity
Revise writing for clarity of content and word choice
Edit for correct grammar
Use technology as a tool to research and communicate information
Use media and visual literacy skills to create products that express new understandings
Use computer technology to publish writing
Respond to audience questions and comments
Critique oral presentations
The following hardcopies are provided with this lesson and may also be found on Google Docs for this class.
Terminology CLOZE Notes and Answer Key
Student Samples for Poetry Objects
Student Activity Sheets and Rubric for Poetry Object
Rubric for Podcast Presentation
Student Peer Critique Sheet
Student Podcast Reflection Sheet.
Links: The following are links to podcast tutorials and resources mentioned in this lesson.
Electronic Version Only: Finished Student Podcast Samples
How to Create a Podcast in Garageband - http://www.youtube.com/watch?v=XBAbl-kU3mc

Part I: Design and Display as Catalysts for Creativity and Critical Thinking
Throughout my thirteen years of teaching, eleven of which have been as an 8
th
grade English teacher in Stafford
County, VA, I have made it a priority to plan lessons that not only provide practice in skills related specifically to
our English curriculum, but those that will help students communicate beyond the classroom. I strive to facilitate
experiences that allow students an authentic exploration of the tools of language as an art, and I plan lessons that
cover a broad scope, as it is imperative that students understand the connection between what we do in the
classroom and the ways these skills will translate into effective communication elsewhere. Two methods that have
become invaluable to me in lesson planning are arts integration and the use of technology as an authentic tool.
My population of learners has been diverse over the years and has included inclusion English, general education
English, and honors level English each year. This past year, my students came to me with a variety of backgrounds
and skills: 20% were identified as economically disadvantaged; 16% identified themselves as members of
ethnicities other than Caucasian; 11% of my Honors English students were part of the FOCUS gifted and talented
program (English and Math); 12% of my students had IEPs for learning challenges; and 41% of my students overall
were reading below grade level, with 22% reading below the 25
th
percentile nationally, and 6% reading below the
10
th
percentile nationally. A common thread throughout these groups was a lack of confidence in identifying and
using figurative language effectively, yet all groups showed an honest enjoyment of figurative language and poetry,
specifically when coupled with media presentation and spoken word performance.
I. Prior Knowledge and Review of Terms
Retention of terminology from one grade to the next is a consistent problem throughout middle school. I would
argue that mastery of definitions as a stand-alone skill set is not crucial for students to understand and form an
appreciation for literature and poetry; however, to help students master language as an art, they must know the
names and uses of the tools in their toolbox. I start this unit with two integrated review lessons using methods from
the dramatic arts, both of which provide a low risk of failure and an opportunity for repeated study of terminology
through active play and creative dialogue.
Initially, students are given a set of CLOZE notes from our textbook with definitions and examples of the language
tools they will be using to create the products in this unit. These include figurative language, sound devices, and
sensory devices (types of imagery). Sometimes, I have assigned this as homework, but most often we complete it
together as a warm-up exercise so that discussion may take place.
Next, I have students work collaboratively in groups of two or three to create one of the following:
1. a skit that demonstrates use of one of the words in multiple ways
2. a characterization and dialogue between an two assigned words from the terminology list
3. a pantomime routine from which the class will guess the meaning of the word from the list
4. a rhyming mnemonic for the assigned word and two other words from the list (group choice)
A second active strategy with which I have had success is called Three Truths and a Lie. Each student is given a
sticky note and a word from the terminology list. They must write three truths about the word and one lie, but they
must keep their actual word a secret. Depending on the size of your class, you could break your students into two
circles, one group of students on an inside circle facing a group of students on an outside circle. The students on the
outer circle share their three truths and a lie, while their partner on the inner circle tries to identify the lie and decides
the correct term being described; then they switch roles. Time these sessions - about a minute and a half for each
person to share and answer is about right and instruct one of the circles to shift clockwise after both partners have
had time to share. I have differentiated for struggling students by writing the list of terms on the board.
II. Prewriting and Idea Development
Once we have reviewed terminology, we discuss the final product, a colorful wall display describing our feelings
and experiences of the spring season through use of tools from our poets toolbox. We usually work on this unit in
March and April, and our audience is the teachers and students at school. Each student will play a part in making
the display come to life by creating a physical object and poem. To generate ideas, we create a large web, a
springboard of sorts, were we brainstorm ideas about the spring season based on broad topics (insects, weather,
vacations, etc.), and each class adds ideas until all have had a chance to participate. I use different colors of EXPO
marker to create this board, which makes the visual engaging and interesting.
Once we have exhausted all of our ideas for our board, I show students products from previous years. I tell them to
think about the size of the display and to look at all the topical ideas we have come up with together that are
possibilities for our display this year. I caution them to choose an object for focus that they feel they will be able to
make, but also one with which they have some interest and connection. We look at the size of the sample objects
and talk about how those that are too small or too large will disrupt the overall display and will not allow them room
to write their poems, which is the next stage of development in this product.
III. Utilizing the Tools
The next phase of this project utilizes the terminology as tools for effective communication. Some students come to
me in 8
th
grade fully understanding most of the figurative language devices, while others need assistance every step
of the way. When I first constructed this unit, I developed an activity worksheet to help students stay focused on
their object (topic) while using the figurative language and sound devices to create original lines of poetic language.
Students work individually, but they are able to ask me questions as I circulate the room. They may also ask their
seat partners or friends for advice and feedback, refer to the notes, and refer to poems in our textbook for examples.
During the implementation of this project we are reading and reflecting on poetry each day in class, so they have
those resources as well. There is a lot of collaboration and dialogue during this developmental phase of the project,
allowing students to learn how to use the language devices with as much support as they may need.

Some students find that physically creating their object gives them ideas for the comparisons they will make using
the poetic devices; some would rather write first and then create; and some even prefer to work with both physical
object and writing packet simultaneously. There is flexibility in this stage of the design, so I usually allow the
students to conclude what works best for them for generating ideas, or I give them suggestions of ways to work
things out if they are struggling.
IV. Honing the Craft
Once students have created their objects and crafted their lines using the poets toolbox, they are to use the lines to
create an original poem. By this point in our poetry unit, we have discussed different forms of poetry and we have
read and reflected on the use of form. To help them get started, we complete a scanning exercise before they write:
1. Students read through their lines on the activity worksheet and place a star next to those that need more
work to create strong images or comparisons.
2. Students highlight the lines that remain. Depending on the number, they may need to strengthen some
before moving to the next step. I encourage students to strengthen at least two figurative language devices,
two sound devices, and two images from their activity sheet, no matter the form they choose for their poem.
3. Of these stronger lines, students choose the one that seems the most effective and write it at the top of the
poetry work page to begin their poems.
4. Students read through the remaining lines and roughly place them in an order by numbering them, and then
they write them on the poetry work page in that order.
5. At this point, I give students time to read and re-read their lines to themselves or to their seat partners. I tell
them to consider the order and to take time to rearrange the lines to best effect.
6. As students finish and like the way their poems look and sound, I remind them that they may experiment
with form and rhyme if they wish. I ask them to think about their objects and to determine whether their
poems might be effective in a concrete form.
7. Students share their final poems with the class, write them neatly on their objects, and hang them on the
display for the school to enjoy.
When students work in a physical way with figurative language devices, they develop connections that deepen their
skills as effective communicators of language. Through focused practice and purposeful use of design elements for
creation of the poetry display objects, students experience the satisfaction of successfully completing a visually
engaging product; however, these products remain fixed as part of a display. To extend this project beyond the
classroom, I decided a few years ago to add a media piece for the purpose of teaching students about available
technology enhanced presentation tools for reaching a wider audience.


Part II: 21
st
Century Presentation for Effective Communication with an Authentic Audience
Students engage when they believe their work has meaning. As teachers, we must find ways to facilitate extension
of their products beyond the classroom to create an experience that allows for an authentic audience. Certainly,
there is room to teach the tools of our curriculum directly, but in order for students to internalize and understand
their importance and purpose, we must provide platforms through which students gain an genuine experience. One
way that I do this in my classroom is through the presentation piece that accompanies their poem and display object
from Part I of this workshop. I have used Garageband through Apple in my classes because we have Mac carts at
our school, but there are multiple platforms that are readily available online that allow students to produce similar
products. You may already know of some excellent ones, and your school TRTs will be able to suggest others, but
here are just a few to explore:
1. Garageband An apple product; user friendly; may include visuals
2. Audacity - free, open source, cross platform software for recording and editing sounds; Windows and Macs
3. Podomatic online tool that allows you to create, find, and share podcasts
4. Odiogo turns written content into podcast format (no visuals) that can be shared
5. Skype this platform allows you to record interviews with people around the world; allows video
6. WordPress this source allows you to share podcasts
My goals in using podcasts for presentation are to show students that their work does not have to remain fixed, that
there are options for sharing original work with a wider audience, and to once again discuss elements of design and
organization for effective communication. The Garageband podcast allows for the following levels of meaning
through arts integration:
Vocalization: Students rehearse and read their poem multiple times to create the best version. The program
forgivingly allows them to delete and start again if they dont like the recording. It is important to provide
a quiet space for this recording, and it is often the step students enjoy the least when time is rushed. This
step provides space for reflection on the ways vocal tone and fluency affect the impact of ones writing on
the audience.
Visuals: Garageband allows students to create a visual slideshow to accompany the spoken portion of their
podcast. Prior to searching for these visuals, I instruct students to scan their poems for interesting images
so they have a place to start when searching online. I require at least ten visuals that represent the meaning
in their poems. Students learn how to time the visuals to line up with the words in their poems to create the
most effective combination. Choosing the visuals is often a favorite step.
Musical Score: A third track of the podcast allows students to choose a musical score to accompany the
reading and visual portions of their presentation. I discuss this track in conjunction with tone and mood.
Garageband provides some premixed tracks and sound effects that students may use, but it also allows
students to mix their own music. Many of my students use this tool, creating highly effective music to
reflect the mood and tone of their poems.
For todays purposes, I am providing a hardcopy of a manual that I made for my students, and you may
electronically access a link to a sample Garageband tutorial that I found online, as well as some of my student
samples. The samples I am providing are those that my students created using their poems from the poetry object
lesson in Part I; however, in the past I have allowed my students to choose whether to use their own poems or to find
poems that fit the podcast project rubric. Both options allow students to explore the goals of this lesson.
The audience for the podcasts is typically our classroom, but we talk about ways this platform could be easily used
to reach a worldwide audience through publication online or through media sources. We discuss plagiarism and use
of original work. If students are using copyrighted photographs or poems, law prohibits them from publishing their
finished podcasts online without permission; however, if they have created a podcast including original poetry and
artwork, or those that are in the public domain, they may freely publish online for the world to see.
When we have finished the unit, students view the podcasts within their class periods, critiquing three of their peers
presentations using a critique sheet that I provide. They are free to ask questions of the podcast creators during this
viewing period. Students also complete a project reflection at the end of the unit. Overwhelmingly, my students
rate this as a favorite project of the year. As a bonus, I sometimes hold a competition wherein student may submit
their work for wider viewing among all my classes and have their peers vote on their favorites.













Further Reading:
Gallagher, K. (2006) Teaching Adolescent Writers. Portland, ME: Stenhouse Publishers.
Goldberg, B. (1996) Room to Write. New York, NY: Penguin Putnam Inc.
Hardiman, M. (2012) The Brain-Targeted Teaching Model for 21
st
Century Schools. Thousand Oaks, CA: Corwin.
Johnston, P. (2012) Opening Minds. Portland, ME: Stenhouse Publishers.
Marzano, R.J. (2004) Building Background Knowledge for Academic Achievement. Arlington, VA: ASCD.
Tucker, S. (1992) Writing Poetry. Glenview, IL: Good Year Books.
Wormeli, R. (2007). Differentiation. Portland, ME: Stenhouse Publishers.

Research-based support for arts integration:
Project Zero through the Harvard Graduate School of Education
http://www.pz.harvard.edu/
The Southeast Center for Arts Integration
http://centerforartsintegration.org/
Kennedy Centers Changing Education through the Arts Program
http://artsedge.kennedy-center.org/educators/how-to/series/arts-integration-beta/changing-education-through-the-arts-
beta