Poetry of Witness
Poetry of witness describes painful writings by those who endured war, imprisonment, exile, repression, and human rights violations. Poetry of witness focuses on human anguish rather than national pride. These poems are apolitical, yet deeply concerned with social causes.
Students read and discuss the power and message of a number of poems of witness connected with historical moments. They identify, analyse and explain the effective use of poetic techniques poets use to create an emotional impact in their poems and perform their new understandings through creating an anthology of their poetry of witness. With its connection to topics studied in MYP Individuals and Societies and focus on portraying history through creativity, this mini-unit has the potential to connect with several interdisciplinary teaching and learning units.
Key Concept: Creativity
Related Concepts: Point of view, genre
Global Context Exploration: Orientation in Space and Time - “big history”
Statement of Inquiry: Creators may express their witness to specific moments of 'big history' through the use of a specific genre.
Inquiry Questions:
Factual: What are some poetic devices? What are some 'big history' moments that might be used for Poetry of Witness?
Conceptual: How do creators express their point of view through their creativity?
Debatable: To what extent may poetry of witness express points of view about 'big history' moments that might be controversial?
Subject Group Overview
Here is a list of some suggestions for this unit:
Voices in Wartime
12 minute preview of the Voices in War film
Voices in Wartime Anthology (available for purchase for 99 cents)
First World War
Anthem for Doomed Youth by Wilfred Owen
Dulce et Decorum Est by Wilfred Owen
Repression of War Experience by Siegfried Sassoon
Weeping Woman by Denise Levertov
El Salvador
The Colonel by Carolyn Forché
Hiroshima
August 6 by: TŌGE Sankichi
November by William Stafford
Let Us Be Midwives! An untold story of the atomic bombing by Sadako Kurihara, translated by Richard Minear
Aerial Photograph Before the Atomic Bomb by Toi Derricotte
Iraq War
The Iraqi Nights by Dunya Mikhail
War Journalism
War Photographer by Carol Ann Duffy
Goal: To express creatively through writing poems, witness to a specific moment or specific moments of 'big history'
Role: You are a poet writing poetry of witness to a 'big history' moment or moments.
Audience: Readers of your Poetry of Witness Anthology
Situation: You have been invited to write an anthology of poetry of witness and you will present one or more of your poems at a Poetry of Witness event.
Product: Write an Anthology of Poetry of Witness, include for each poem a short introduction in which you briefly explain the 'big history' context of the poem, an overview of the poem's message and an analysis of the poetic choices you have chosen. Then, choose two short poems or one longer poem to present at your class' Poetry of Witness event and prepare to introduce these poems and recite them to your audience.
Success Criteria:
Criteria A: Analysing
- Analyse the effects of the creator’s choices on an audience
- Justify opinions and ideas, using examples, explanations and terminology.
Criteria C: Producing Text
- Produce texts that demonstrate insight, imagination and sensitivity while exploring and reflecting critically on new perspectives and ideas arising from personal engagement with the creative process
- Make stylistic choices in terms of linguistic, literary and visual devices, demonstrating awareness of the impact on an audience.
Criteria D: Using Language
- Use appropriate and varied vocabulary, sentence structures and forms of expression
- Write in a register and style that serve the context and intention
- Use correct grammar, syntax and punctuation
- Spell and write with accuracy.
TIP! Share an InThinking student page for the summative assessment directly with your students:
ATL Creative Thinking Skills
Create original works and ideas; use existing works and ideas in new ways
ATL Crtical Thinking Skills
Consider ideas from multiple perspectives
Teaching Strategy: Use the visible thinking strategy of Facts or Fiction to help students increase their awareness of the many issues of truth and what to consider when exploring the truth of the topic(s) you and they choose to focus on in this unit.
Content
Stage 1
You could approach this unit from a number of different perspectives including conceptual lenses of specific 'big moments in history' e.g. the first world war, the event of Hiroshima, the Holocaust etc. Begin by either picking a conceptual lens and choosing poems or choose poems and then identify the particular identity conceptual lens you will focus on during the unit.
Begin by showing and discussing this 12-minute preview of the Voices in Wartime film.
Stage 2 - Revise poetic techniques whilst reading examples of poetry of witness
As you read with your students the poems you have chosen, focus them on the use and effect of language and the various poetic techniques and talk about the impact of each technique
Stage 3 - Analyse more example poems of witness beginning to plan what students will know, understand and perform in summative assessment(s)
Consider carefully exactly what it is you want your students to be able to know, understand and do by the end of the unit. Use backwards planning to connect the summative assessment(s) with the statement of inquiry and ensure they are a performance of understanding of the SOI or part of the SOI.
Stage 4 - developing poetry writing and analysis skills
With all the above thought out, you are ready to begin to plan the unit. I have chosen in the Texts to Go: Poetry of Witness particular poems to recommend to you from my list of teaching favourites. In the resources box above on this webpage, there are suggestions for other poems and resources. However, there are many other possible poems of witness you can choose and if you have any personal favourites you would to recommend to us, please do post them in the comments below this post!
You will formatively assess your students throughout the learning process in the unit. We are constantly judging our students' knowledge and understanding during lessons and providing them with verbal positive feedback. I recommend always preparing students for each summative assessment, possibly by giving them a similar mini-formative assessment before the summative assessment, for which you provide verbal and/or written feedback goals that your students can work on.
Ideas for formative assessments that you can use to provide students with feedback to feedforward during this unit:
- Students analyse poems or parts of poems and write/speak about how the poets effectively communicates their message to the reader.
- Students write poems and receive feedback on their language, and use of poetic techniques to create a message.
Some ideas for differentiation:
Content
Choose appropriate poems to support or challenge individual student needs. Consider simplified or shorter versions of poems.
Process
Provide additional questions, explanations, scaffolds, vocabulary lists etc.
Product
Modify the final product in ways such as reducing the number of poems to be written, increasing time allocation, providing additional clarifications or modifying the assessment criteria and strands in Years 1-4. Offer students the opportunity to film or record an audio of them reading and talking about their poems if they are challenged by presenting in front of the class.
If you choose to focus on current global events including wars, imprisonment, exile, repression, and human rights violations during this unit there is a clear link with the MYP Service Outcome: Engage with issues of global importance. Perhaps, your students could write their own poems of witness and raise awareness by performing them for others in your school community or create short films in which their witness poetry is presented with appropriate visuals to create an impactful message to others.
OPEN-MINDED - They understand and appreciate their own cultures and personal histories, and are open to the perspectives, values and traditions of other individuals and communities. They are accustomed to seeking and evaluating a range of points of view, and are willing to grow from the experience.
REFLECTIVE - They thoughtfully consider the world and their own ideas and experiences.
Use some questions below to support your reflection at different stages of the unit. A detailed list of pre, during and post unit reflection questions is available on this page. Below are just a few questions to get you started.
Before the unit
• Why do we think that reading, listening to and analysing poetry with themes of the natural world, animals and protecting the environment will be interesting?
• What have students encountered in reading and appreciating poetry before?
• What do we know about students’ preferences and patterns of interaction?
During the unit
• What resources are proving useful, and what other resources do we need?
• What student inquiries are emerging?
• What skills need more practice? eg. poetic analysis skills
• How can we scaffold learning for students who need more guidance?
• What is happening in the world right now with which we could connect teaching and learning in
this unit?
Following the unit
• What were the learning outcomes of this unit?
• How well did the summative assessment task serve to distinguish levels of achievement?
• Was the task sufficiently complex to allow students to reach the highest levels?
• What evidence of learning can I identify?
• Which teaching strategies were effective? Why?
• How will I build on our experience to plan the next unit?
• How effectively did I differentiate learning in this unit?
• What can students carry forward from this unit to the next year/level of study