HomeMy WebLinkAbout2017-029-E Arts - Chapel Hill High School Arts Academy - Fall 2016 Arts Grant Agreement DocuSign Envelope ID: CF1E5821-41D3-41 CA-BE86-7063BD8D1470 C a r
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ORANGE COUNTY ARTS COMMISSION " _'
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FALI 2016 GRANT AGREEMENT
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THIS AGREEMENT, entered into this 17 day of January, 2017, by and between Orange County
("County"), by and through the Orange County Arts Commission ("Arts Commission") and
Chapel Hill High School Arts Academy("Grant Recipient").
WHEREAS, the Arts Commission is a countywide arts agency that ensures the growth of
local arts experiences by providing funding and support for diverse high quality programs and
projects.
WHEREAS, the Arts Commission administers the Spring and Fall Arts Grants Program
to provide economic opportunities to Orange County artists and non-profit organizations
coordinating arts projects benefiting the citizens of Orange County.
WHEREAS, the Spring Arts Grants Program is supported by Arts Commission with
funds from the Grassroots Program of the North Carolina Arts Council, an agency of the
Department of Cultural Resources and the National Endowment for the Arts.
WHEREAS, the Grant Recipient was selected by the Arts Commission to receive the
Spring Arts Grant through the procedures duly adopted by the Arts Commission; and
WHEREAS, both parties wish to promote and maintain the integrity and clarity of the
Grant Recipient's ideas and statements and delineate the Grant Recipient's obligations to the
County;
NOW, THEREFORE, the County and the Grant Recipient, for the consideration and
under the conditions hereinafter set forth, agree as follows:
1. Approved Grant Project. Grant funds are provided under this Agreement for the project
("Project") described in the Grant Recipient's Grant Application, attached hereto and
incorporated herein as Exhibit A.
2. Grant Award. Grant funds in an amount not to exceed one thousand dollars ($ 1000.00)
have been awarded by the Arts Commission to the Grant Recipient for the approved
Project. These funds must be matched at least dollar-for-dollar with cash from the Grant
Recipient's funds not derived from either Orange County appropriations or the North
Carolina Arts Council.
3. Contingency. This grant is contingent on North Carolina Arts Council Grassroots
Program funding to the Arts Commission. Final decisions on Grassroots Program funds
to the North Carolina Arts Council are subject to approval by the North Carolina General
Assembly.
4. Responsibilities of the Grant Recipient
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A. Implementation. The Project implementation shall take place between January 1,
2017 and December 31, 2017. The Project shall be implemented in the manner
described in Exhibit A. Time is of the essence in the implementation of the
Project.
B. Modifications to project. Grant Recipient shall present major changes to the
original proposal, including but not limited to changes in design, implementation
schedule and increase in Project budget by more than 10%, in writing to the Arts
Commission for approval. Arts Commission shall approve or disapprove Grant
Recipient's request for modifications within seven (7) days of receipt thereof
Consent to project modifications shall not be unreasonably withheld. Arts
Commission's decisions shall be in writing. In the event the Arts Commission
fails to approve or disapprove the requested modifications within the time stated
herein, the modifications shall be deemed approved.
C. Non—assignment. The grant cannot be assigned or transferred to a different project
or artist without prior written approval of the Arts Commission.
D. Records. Grant Recipient must maintain records and other evidence pertaining
to costs incurred and revenues acquired during the Project implementation. Grant
Recipient shall maintain financial records pertaining to the Project for three (3)
years from the date of this Agreement, in case of audit.
E. Use of Funds. Grant Recipient shall not use the grant funds to repay outstanding
taxes or other debts of any nature. The grants shall be utilized solely for the
purpose of implementing the Project and Project related expenses.
F. Final Report. Grant Recipient shall submit to the Arts Commission a Final Report
on January 12, 2018. The Final Report shall be in the format required by the
North Carolina Arts Council. Failure to submit the Final Report or late
submission of the Final Report, for any reason, shall be grounds for denial and/or
cancellation of grant funds for the Project and future grant proposals.
5. Responsibilities of the Arts Commission
A. Payment. The Arts Commission shall release the grant funds in the amount of
$1000.00 to the Grant Recipient.
6. Publicity
A. Acknowledgement. Credit must be given to the Orange County Arts
Commission and/or the North Carolina Arts Council using the proper logo(s)
and credit line in brochures, news releases, programs, and all other printed and
online publications. Copies of such printed materials must accompany the
evaluation report. Official Orange County Arts Commission and North Carolina
Arts Council logos may be downloaded at www.artsorange.org/grantee-resources
and may not be altered in any way. When no printed information is used, verbal
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credit shall be given. In addition, all print and promotional material must include
the following credit line and logo(s) (check all that apply):
i. x County Funds Only. Orange County Arts Commission logo required.
Credit line: "This program is supported by the Orange County Arts
Commission. "
ii. North Carolina Arts Council Funding. The Orange County Arts
Commission and the North Carolina Arts Council logos are required. Credit
line: "This program is supported by the Orange County Arts Commission
through the N.C. Arts Council, a division of the Department of Natural and
Cultural Resources. "
B. The Grant Recipient must enter all events, exhibits and performances open to the
public and related to this grant award on the ExploreChapelHillARTS.com
website and display Orange County Arts Commission publicity materials
(postcards, brochures, etc.) prominently and consistently at their venue or
performance space. In addition, the Grant Recipient must add a link to the
www.artsorange.org (Orange County Arts Commission logo preferred) to their
main webpage.
7. Indemnity. The Grant Recipient agrees to indemnify and hold harmless the County, the
Arts Commission and the North Carolina Arts Council and their officers and employees
from any and all claims or actual injury, damage or loss to a person, or real or personal
property that results from or is in any way connected to the use of the grant funds.
8. Independent Contractor. The Grant Recipient is an independent contractor and not an
employee, agent or other representative of the County and/or the Arts Commission.
Nothing contained in this Agreement shall be construed to create the relationship of
principal and agent, or employer and employee, between Grant Recipient and Arts
Commission or Orange County Government. Grant Recipient understands and agrees
that he/she is not authorized to incur any expenses or any liability whatsoever on behalf
of the County or the Arts Commission and has no authority, expressed or implied, to
obligate or make representations on behalf of the County or the Arts Commission. In
addition, Grant Recipient agrees to maintain his or her own worker's compensation
insurance for himself/herself and his or her employees for the duration of the art work's
installation.
9. Termination
A. In the event of any of the circumstances set forth below (hereinafter referred to as
"default"), the Arts Commission may immediately terminate this Agreement:
(i) Any fraudulent representation in any verification required to obtain
payment under this Agreement or other dishonesty on a material matter
relating to the performance of services under this Agreement.
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(ii) Nonperformance, incomplete service or performance, or failure to
satisfactorily perform any part of the Project or to comply with any
provision of this Agreement, as determined by the Arts Commission in its
sole discretion.
(iii) Failure to adhere to the terms of applicable county, state or federal laws,
regulations, or stated public policy.
B. In the event of default by the Grant Recipient, the Arts Commission has the
discretion to elect to terminate this Agreement, in whole or in part and/or require
the Grant Recipient to repay the grant funds within seven (7) from written notice
of default or allow the grant recipient the opportunity to cure the default. This
clause shall not be interpreted to limit the County's or the Arts Commission's
remedies in law or in equity.
10. Miscellaneous.
A. Entire Agreement. This Agreement and the attachments contain the final and
entire understanding of the parties with respect to the subject matter of this
Agreement. All modifications and amendments to this Agreement shall be in
writing. This Agreement shall be binding upon the parties, their heirs, successors
and assigns.
B. Governing Law. Both parties agree that this Agreement shall be governed by the
laws of the State of North Carolina. Provider shall at all times remain in
compliance with all applicable local, state, and federal laws, rules, and regulations
including but not limited to all state and federal anti-discrimination laws, policies,
rules, and regulations and the Orange County Anti-Discrimination Policy. Any
violation of this requirement is a breach of this Agreement and County may
immediately terminate this Agreement without further obligation on the part of
the County. This paragraph is not intended to limit and does not limit the
definition of breach to discrimination. By executing this Agreement Provider
affirms that Provider is and shall remain in compliance with Article 2 of Chapter
64 of the North Carolina General Statutes. By executing this Agreement Provider
certifies that Provider has not been identified, and has not utilized the services of
any agent or subcontractor, on the list created by the State Treasurer pursuant to
G.S. 147-86.58.
C. Entire Agreement and Signatures. The parties have read this Agreement and agree
to be bound by all of its terms, and further agree that it constitutes the complete
and exclusive statement of the Agreement between the parties unless and until
modified in writing and signed by the parties. This Agreement together with any
amendments or modifications may be executed electronically. All electronic
signatures affixed hereto evidence the intent of the Parties to comply with Article
1 1A and Article 40 of North Carolina General Statute Chapter 66.
[SIGNATURE PAGE TO FOLLOW]
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DocuSign Envelope ID: CF1E5821-41D3-41 CA-BE86-7063BD8D1470
IN WITNESS WHEREOF, the Orange County and the Grant Recipient have signed this Grant
Agreement, effective on the last date this Agreement is signed by both parties as indicated by the
dates set forth under signatures below.
For and on behalf of the Grant Recipient
DocuSigned by:
ODA2s ' :NV-Hill High School Date
For and on behalf of Orange County Government
DocuSigned by:
fjbmn,tt t rst i
bie-'vmnersley, County Manager Date
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DocuSign Envelope ID: CF1E5821-41D3-41 CA-BE86-7063BD8D1470
11>
FALL 2016
ORANGE COUNTY ARTS ARTS IN EDUCATION GRANT
COMMISSION APPLICATION FORM
1. APPLICANT INFORMATION
Applicant Name e o (\ o �� � �� (6.4 -�
Mailing Address 11°001 1-1:9 c..(40,04 tZd• Cirep( : , tJ 2-7516
Daytime Phone .% • TjG(-Z4 06 . I ts°' Email Address hit irt'Jo�� 5•(/JZ• >C.05
Web Site ChkiVf3.CJ •WI— AC- U5 DUNS Number I 1
2. PROJECT DIRECTOR INFORMATION
Project Director Name ..i("Lae l (' 4 Title e 4& IJ&Vt ./ z fed
Home Address: 14 LYS Ave v',Plum.
Daytime Phone ef t ' S•t"• 14-14 (() Evening Phone ' 5 •• 714143 Cce
Email f ijt c . (4.12. • C• US DUNS Number l
3. GRANT REQUEST SUMMARY /
Arts Program Grant Request $ /OQ . O Total Cash Match $ !®®0 • "
Total Organizational Budget Past Year 31 e
(Including PTSA/Cultural Current Year fi r &
Enrichment/Arts Program) Projected for Next Year f 4,
Summary Statement for Proposed Uses of Arts Program Grant: Ed /t 1':
S ' h a( folk. co- Wale- torl (24 5e5s,--
peicrl ptitz,vwc4Aft.e. c.i.NA 14 ( k" 1,41C, 54001 .
4. NARRATIVE
Write a description (no more than three pages, single spaced)that describes the following under
separate subheadings:
• School profile—a brief overview of population and services.
• School's arts programs—a brief list.
• Proposed uses of grant funds—description, including location, date, artists involved. Include
information concerning whether you have undertaken similar activities in the past. Include
approximate number of audience per program;geography of audience; mix of race,ethnicity,
age,and gender. Discuss how arts program will be integrated into the curriculum.
DocuSign Envelope ID: CF1E5821-41D3-41CA-BE86-7063BD8D1470
5. APPLICATION CHECKLIST (in this order;do not staple, bind, or put into individual folders)
One copy:1 sided,81/2"x11', white paper
® Application Form,including signatures
If( Narrative
g Budget Sheet
RI' Itemized Budget(if necessary)
0' Resumes of key artists and administrators involved in grant funded program(s)
d Organizational Budget for current AND past two fiscal years
d Artist contact list, including names,address, phone numbers,and email (if applicable)of all
artists involved in grant funded activities
Staff roster of all school art& music teachers with position title(s).
Board contact list, including names, address, phone numbers, and email (if applicable)of
organization's board of directors
d Copy of IRS Tax Exemption Letter, if private school
RI',Sample programs, press,or other materials from this or similar past programs
Et Sample work by artist(labeled with artists' name,title of work, date of work) produced in the
last three years:
o Visual artists: CD, DVD, or high resolution photographs (5-10 images). Clearly label each
piece with dimensions and media and indicate top of image
o Dance or theater artist: CD or DVD, or link to high-quality online video(3-5 minutes)
o Music and spoken word: CD, MP3 or link to high-quality online video(3-5 minutes)
o Literary arts: Manuscript(10-15 pages)submitted by.pdf or hard copy
6. SIGNATURES
Typed or Printed Name—Project Director: M.` Ci I riArt
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Signature of Project Direct r Date
Typed or P ted 'ame—Authorizing O ficial: rk U V ■ a4 /V
if
gyr Alp /09-_-/k/ 1r-
• re of , i thorizing Offici;0I Date
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DocuSign Envelope ID: CF1E5821-41D3-41 CA-BE86-7063BD8D1470
4.NARRATIVE
School Overview:
Chapel Hill High School-as you may know-is one of the three cornerstone high schools of the CHCCS
district. We are a traditional high school that regularly has some of the highest performing students in
the state of North Carolina. Conversely,we have also historically struggled with an alarming
achievement gap,a problem that has been combatted with many initiatives. Chapel Hill High School
has a population of 1,521. Our demographic breakdown is the following: 837 white, 211 Hispanic/
Latino, 198 Asian, 176 Black, 89 Mixed Race, and 11 American Indian. Our population is very close to
50%male and 50%female. We serve many students with both learning and developmental disabilities.
We offer almost every major sport and have over 100 clubs for academic,adventure,and service
interests. We also house two academic academies at CHITS: The Arts Academy and the Academy of
Information Technology.
School Arts Programs:
Chapel Hill High School has a thriving Arts program. Over the years,many of the programs in the
visual and performing arts have received many awards for outstanding student and teacher performance.
Our Cultural Arts program hosts a wide array of very popular classes: Theater and Tech Theater,Dance,
Band, Orchestra,Chorus,Drawing and Painting, and Ceramics. Additionally,CHITS also offers Arts
Focus core classes through the Arts Academy. Started in 2007,the program is in its tenth successful
year of offering English,History,and Science classes with a specialized focus in arts integration
practices to enhance the core curriculum and increase student achievement through creative instruction.
This year,as per our average,there are over 100 students enrolled in Arts Focus classes.We also have
many different clubs and extracurricular activities, such as the National Art Honor Society,Improv
rov p
Team, acapella groups,and many more that help to contribute to a creative student culture at CHITS!
P �' P , Y p
This grant is in alignment with the goals of the Arts Academy's mission at Chapel Hill High School.
The priorities of the Arts Academy budget every year has been twofold:to bring outstanding artists into
the classroom for direct instruction,and to bring students to professional art museums and plays in the
community. While the Arts Academy is open to all students,there is a strong emphasis on serving
students of color and students in standard(non-honors)classes. Over the past three years,the Arts
Academy has hosted many professional musicians,poets,journalistic writers,and actors in the
classroom for a plethora of creative projects. Additionally,we have made trips to the North Carolina
Museum of Art,Ackland Art Museum, and Playmakers Theater.
Tell Your Story: a Spoken Word Curriculum for Creative Expression
Tell Your Story is a powerful week-long artist residency program developed by Arts Academy Director
and English teacher Michael Irwin and educator/artist Kane Smego. In simplest terms,the program is
designed to empower students through the creative expression of their deepest stories. Throughout this
week long intensive program,tenth grade Chapel Hill High School English Language Arts students will
use spoken word poetry to fuse elements of creative writing and performance art. Students will learn to
explore their own identities in relationship to social justice issues by creating powerful pieces of poetry
DocuSign Envelope ID: CF1E5821-41D3-41 CA-BE86-7063BD8D1470
and sharing them with their peers. Throughout the program, students will be active participants in a daily
workshop style culture that will combine elements of direct instruction,writing guidance,peer and
teacher review, and performance. The program will be offered to five tenth grade English classes daily
that meet during the regular school day from January 9- 13,2017. Additionally,an abbreviated version
of the program will be offered during two 45 minute lunch periods on Tuesday and Thursday of the
same week to a group of student leaders who attended a November workshop.
The curriculum is designed to benefit students in five specific ways: enhance emotional literacy,
facilitate identity exploration,refine writing and analytical skills,develop performance and public
speaking competency, and build self-confidence.Kane will perform his own work as well as share
videos and texts from other poets and notable orators. He will help students to examine primary source
documents,and then lead creative writing workshops in response to the content. Through
self-exploration and exposure to a diverse body of both written and performed texts,participants will
create powerful works of poetry that engage critically and creatively with issues of identity,
intersectionality, oppression, and imperialism-all themes that students have been exposed to in their
English class. In addition,participants will learn to use literary devices and other poetics,as well as
develop public speaking and performance skills. The best work that students create during this
week-long residence will be highlighted at a few Chapel Hill High School events: our annual Junior
Follies school-wide talent show,the Black History month assembly,and our outside festival Tiger Fest.
We also have tentative plans to collaborate with our Information Technology Academy to produce some is
video media of the best poems for YouTube.
Specifically, 126 tenth grade(ages 15-16)English students will participate in the five day long residency
program-that's one full week of creative, arts-integrated teaching! Of the 126 students, 63 are white,21
are Asian, 18 are Black, 16 are Latino, 5 are Multiracial, and 3 are Middle Eastern. There are 60 male
students, 65 female students, and 1 transgender student.
Additionally,there are 25 student leaders who will participate in the two lunch sessions,20 of whom are
African American,3 that are white,and 2 that are Asian. The group is comprised of 13 male and 12
female students in grades 10-12(ages 15-18). This group participated in a 3 hour workshop with Kane
Smego and educator/artist Pierce Freelon on November 18th, and will bring poems to the lunch work
sessions for review and performance practice.
The curriculum will encourage critical thinking around the following themes:the social construction and
history of race in America; intersectionality theory,matrix of social oppression, and hybrid identities;
null curriculum, erased histories,and the idea of dominant vs. counter narratives; and responding to
forms of oppression. The following informational texts will be used(in part)to facilitate the instruction:
George Mason University's compilation of The Racial Prerequisite Cases;Kane's Powerpoint on Race
in America;Benjamin Banneker's Letter to Thomas Jefferson;liberation poetry in South African
Apartheid; Crenshaw and Dubois' excerpts on intersectionality and double consciousness; and Audre
Lorde's explanation on the origins of intersectionality and waves of feminism. The poems and videos
DocuSign Envelope ID: CF1E5821-41D3-41 CA-BE86-7063BD8D1470
that will be used are: "Asians from the South"by G Yamazawa;"Afro Latina"by Elizabeth Acevedo;
"On Being a Black Girl(for those of you who aren't)"by Patricia Smith; "10 Things You Should Know
About the Boy I Never Was"by Hunter Gantz;"Who Said it Was Simple"by Audre Lorde; "Coca Cola
and Coco Frio"by Martin Espada; "A Letter to Chris Brown"by Rudy Francisco; "A Letter to the
Schoolyard Bully"by Andrea Gibson; and"Enter the Dragon"by John Murillo.
100%of the$2000 total project cost will be used to pay Kane Smego.
Michael Irwin and Kane Smego have been collaborating on artistic youth empowerment and literacy
projects for over a decade. Once upon a time,Kane Smego was a student in Michael Irwin's English
class,where he was an active participant in Irwin's extracurricular youth arts program Scene&Heard,a
collective that performed poetry and puppetry social justice themed shows,whose core student members
eventually helped to birth the successful non-profit Sacrificial Poets. Upon Kane's graduation from
UNC,he served as the Co-founder and Artistic Director of Sacrificial Poets,performing and teaching in
countless schools locally and across North Carolina. During this time,Michael Irwin served on the
Board of Directors for Sacrificial Poets and made it a primary goal to get Kane Smego into Chapel Hill
Schools as often as possible. In 2013,we received an Orange County Arts Commission Education
Coalition grant in order to bring Kane and other Sacrificial Poet educators into Chapel Hill High School,
Carrboro High School,and Phoenix Academy for multiple weeks of creative instruction. Since that
time,Kane has been a fixture of the Arts Academy program,teaching poetry performance in many
different subject areas. Needless to say,Kane has quite a following in our school district. Teachers in
the Arts Academy get very excited and passionate about having Kane teach in their classes, and
"optional assemblies"in our auditorium are heavily attended by hundreds of students and teachers when
he performs. Tell Your Story is a long overdue Arts Residency program that will bring out the best in
Kane's teaching, as he will dive deep into 5 consecutive days with 5 different classes. Kane is also
eager to collect student work throughout the week in order to give the critical feedback that students
crave in order to polish their best performance poems.
Tell Your Story fits perfectly into the tenth grade World Literature English curriculum. In the Chapel
Hill Carrboro City Schools,one of our cornerstone tasks is to explore the power of narrative in World
Literature and to connect it to our own lives in a contemporary context. Students in Michael Irwin's
English classes will already have read and discussed the power of narrative through the magical realism
short stories of Isabel Allende, Chinua Achebe's African novel Things Fall Apart,and Kamala
Markandaya's Indian novel Nectar in a Sieve. Students will already have a deep understanding of social
oppression theory and how our stories are deeply influenced by our identity development. Additionally,
in the weeks following Tell Your Story, students will take excerpts from their work to produce a visual
art installation in the lobby of Chapel Hill High School.
Thank you kindly for your consideration-we are very excited about this project, and we welcome
anyone from the Orange County Arts Commission to join us for one of our project teaching days!
DocuSign Envelope ID: CF1E5821-41D3-41CA-BE86-7063BD8D1470
// FALL 2016
rev ARTS IN EDUCATION GRANT
ORANGE COUNTY ARTS BUDGET SHEET
COMMISSION
FINANCIAL INFORMATION
Please provide a projected budget for your proposed project utilizing the format below.
PROJECT EXPENSES
Grant Amount + Applicant = Total Expense
Requested Cash Match
A Personnel
Administrative staff d r
Artistic staff /j 000 o'au 82-, "o o
Technical/Production staff ---
B Outside Fees and Services
—
Artistic contracts
Other contracts:
C Space Rental
D Travel
E Marketing ""-
i
F Remaining Project Expenses — --
G Total Cash Expenses / a" v / i o o jY 2, /to a
PROJECT INCOME Cash Income
A Admissions
B Contracted Services Revenue
C Other Revenue(specify)
D Private Support
Corporate support
—
Foundation support
Other private support —
E Government Support
Federal
State/regional (not including this request)
Local (not including this request) —
F Applicant Cash ft 00, u o c>
G Grant Amount Requested in this application .tor v v
H Total Cash Income /102 r vv c�
(must equal Total Cash Expenses,Item G above)
DocuSign Envelope ID: CF1E5821-41D3-41 CA-BE86-7063BD8D1470
Kane D. Smego934 Roads End
Pittsboro,NC 27312Telephone: (443)-315-3307Email:kanesmego @gmail.com
Education
Bachelor of Arts in Romance Languages, Spanish
University of North Carolina at Chapel Hill, 2010
• With Highest Distinction, GPA 3.974 rf
• Sterling A. Stoudemire Award Recipient for Excellence in Spanish(Top
Senior)
• Member of Phi Beta Kappa Society
• Member of Golden Key International Honour Society
• Member of Order of the Golden Fleece honor society of UNC-Chapel
Hill
Skills
• Fluent in Spanish(Reading, Writing, and Speaking)
• Competency in Microsoft Word, Excel, and Powerpoint
• Creative writing, editing, and poetry
• Literacy instruction in English and Spanish
• Facilitation of writing/performance workshops
• Ability to organize and lead others on collaborative projects
• Completed four semesters of college level Arabic Language
• Extensive public speaking and literary performance experience
• Internet Research
Experience
2014-Present Professional Performer/Lecturer/Workshop Facilitator
Conscious Campus
• Give performances, lectures, and workshops at colleges,universities, and
conferences throughout the country
2014-Present Cultural Diplomat, Teaching Artist, Site Manager
with the Next Level International Hip Hop Program
University of North Carolina/U.S. State Department Bureau of
Education and Multicultural Affairs
• Collaborate with group of Hip Hop artists/educators to run performing arts
E>.
program in Zimbabwe, Thailand, and Brazil
• Create program curriculum
• Teach on-site workshops to youth and young adults
• Curate final performance event
Ir.
• Plan and coordinate all program logistics including lodging, equipment,
concert venues, workshops and outreach,transportation
• Serve as program Liaison to US Embassy/Consulate in host countries
DocuSign Envelope ID: CF1E5821-41D3-41 CA-BE86-7063BD8D1470
2008-2014 Artistic Director/Teaching Artist Sacrificial Poets
(Nonprofit organization)
• Book,plan, and teach performance workshops and performance events
throughout the state of North Carolina, with elementary through college-
aged youth. Run programs in schools,universities, after-school programs,
juvenile detention centers,prisons,homeless shelters, and with other
organizations serving youth.
• Develop creative writing,performance, and social justice curricula for in-
class and after-school programs
• Manage and train all teaching artists working with the organization
• Provide writing and performance instruction to adults and youth seeking to
compete on the local,regional, and national level
• Write grant proposals for program funding
• Organize and plan fundraiser events and performances
• Coach the Sacrificial Poets youth poetry team, and the UNC-Chapel Hill
Slam Team that compete annually at the international youth poetry slam
(BNV) and national college slam(CUPSI)respectively. ;.
2013 (Fall) University Course Co-Instructor
University of North Carolina at Chapel Hill—Communications Dept.
• Create course curriculum and syllabus
• Instruct writing and performance workshops
• Facilitate group discussions of course material
• Design and direct final performance events
• Review and grade course writing and performance work
2013-Present Summer Arts Service Program Instructor and Interpreter
Wilderness Excursions (Costa Rica Program)
• Create course curriculum for American and Costa Rican Youth I'
(English/Spanish)
• Travel with group to Costa Rica for 10 days and lead arts service projects
• Provide interpreting for theater workshops and communication with local
schools and organizations
2006-2009 Elementary Reading Tutor(Pre-K-5'h grade)
America Reads Program, Chapel Hill,NC
• Create daily lesson plans at home and recording hours
• Tutor groups of 3-5 elementary school kids
• Update teachers of students'progress by submitting bi-annual student
evaluations
DocuSign Envelope ID: CF1E5821-41D3-41 CA-BE86-7063BD8D1470
Awards and Accomplishments
Artistic:
• National Poetry Slam Finalist
• Southern Fried Regional Poetry Slam Champion
• Placed 14th in the world at the Individual World Poetry Slam(December
2008, Charlotte,NC)
• Presenter at TEDX UNC 2012
• Performed at the Shriver Report Live hosted by Atlantic Magazine 2014
• Keynote speaker at the Global Youth Leaders Conference 2014
• Performed at the National Association of Social Workers Conference 2014
• Performed at Bonnaroo Music Festival 2010 as part of the Poetix
Vanguard
• Poems featured on the American Public Media show"The Story"with
Dick Gordon 2011
• Performed at the Edinburgh Festival Fringe in Scotland 2013
• Winner of the Lake Eden Arts Festival (LEAF)poetry slam(October
2008,monetary award)
• Completed a 3 1/2 month tour performing and teaching workshops in 17
states across the U.S. from September-December 2011
• Completed a 6 week European tour performing and teaching workshops
throughout England, Scotland, Germany,Netherlands, and France
• Creator of Poetic Portraits of a Revolution project that traveled to Egypt
and Tunisia and created an eight-week radio series on National Public
Radio and American Public Media
• 2010 Indy Arts Award Winner
• Winner of the Shakori Hills poetry slam(April, 2008, monetary award).
• 2010 Two Piece and a Side Slam champion(Tallahasse,FL, monetary
award)
• 2010 Duo Slam poetry team slam champion(monetary award)
Academic:
• Sterling A. Stoudemire Award Recipient for Excellence in Spanish(Top
Senior, monetary award)
• Member of Phi Beta Kappa Society
• Member of Order of the Golden Fleece honor society of UNC-Chapel Hill
• Member of Golden Key International Honour Society
Performed and Lead Workshops at the following
colleges/universities:Duke UniversityUniversity of Connecticut
University of Hawaii
University of New Hampshire
University of California at Merced
University of Washington Tacoma
DocuSign Envelope ID: CF1E5821-41D3-41CA-BE86-7063BD8D1470
Eastern Washington University
Cal State University at Hayward
Cal State University at Monterey Bay
George Mason UniversityVirginia Commonwealth UniversityUniversity of
North Carolina - Chapel HillUniversity of North Carolina -
WilmingtonUniversity of North Carolina - AshevilleUniversity of North
Carolina- CharlotteNorth Carolina State University
Soka University
Clarion University
Whitman College
Bennett CollegeGuilford CollegeSheridan College
Cleveland State Community College
Northeast State Community College
Spokane Falls Community College
Western Wyoming Community College
References
Available upon request
is
IF-
r€:
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Michael Irwin
Chapel Hill High School Home
f
1709 High School Rd. 4608 Murphy School Rd.
Chapel Hill,NC 27516 , Durham,NC 27705
919-929-2106,ext.41212 Cell: 919-357-7443
mirwin @chccs.kl2.nc.us willowandi @gmail.com
Education:
The University of North Carolina at Chapel Hill,94-98
B.A.in English Education
•Student Environmental Action Coalition
•Advocates for Sexual Assault Prevention
•Carolina Club Soccer Player
Teaching Experience:
Chapel Hill High School,1998-present
• Classroom teacher-plan and teach daily instruction in English II World Literature and English IV
British Literature
•Implement daily activities to teach reading comprehension,literary and nonfiction analysis,research and
creative writing,video production,public speaking,media literacy,and more
Professional Activities:
Chapel Hill High School Arts Academy,Director,2007—present
•Design program offerings and initiatives with cultural arts committee
Recruit diverse students for inclusion in full immersion arts curriculum
•Form community partnerships and professional internships for students
UNITY Project,Director,2000—present
•Create collaborative community service project with NC Outward Bound
•Recruit diverse youth for summer wilderness course
•Oversee implementation of 2 community service projects each year
Scene&Heard Productions,Founder and Artistic Director,2003—present
•Social justice youth multimedia theater company
•Lead workshops in large scale puppetry production,script writing,spoken word writing,artistic and
documentary film production,musical collaboration,and creative dance and movement
•Direct casts and produce shows that address historical and contemporary injustices based on the works of
Paulo Freire's Pedagogy of the Oppressed and Augusto Boal's Theater of the Oppressed
•Write grants for the production of the following shows-The Purple Light of Hope, Twice Upon a Time,A
I
Slave to Wonder,Echoes of the Silenced, The Roots of Reflection
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Wilderness Excursions,Co-founder and Wilderness Guide,2002—present
.Full immersion youth wilderness education organization
•Lead 3—15 day hiking and kayaking trips in US and Costa Rica
.Plan and implement a holistic curriculum to teach wilderness skills and increase social awareness
.Total of 160 nights in the backcountry with over 300 participants on 33 trips
Youth Community Project, Youth Ally and Advisor,2010—2013
.Recruit diverse teenagers for Youth Advisory Board
.Facilitate youth-adult partnership process by which local teens take ownership over the creation of a
new Teen Center/Café
Other committees, clubs, and activities at Chapel Hill High School:
Equity Team(11 years)
Climate and Culture Committee(2 years)
Community Garden Coordinator(10 years)
Minority Achievement Improvement Committee(2 years)
CEED after school teacher(4 years)
Online Recovery class teacher(3 years)
TREES environmental club advisor (5 years)
JV head soccer coach(3 years)
English II chairperson(2 years)
Teacher mentor(2 years)
Film Club Advisor(2 years)
Parks and Recreation basketball coach(1 year)
Class Advisor(2 years)
Workshops and Conferences:
Facilitator:
NC Outward Bound Diversity Training(2009,2010)
The Making of the Mahatma,(2007)
A Day of Nonviolence,(2007)
Latino Poetry Day,(2008,2009)
Presentations and Performances:
Pedagogy and Theater of the Oppressed 12th Annual Conference,Chapel Hill,NC,(2006)
Brave New Voices International Youth Slam Poetry competition,(2005 present)
North Carolina Guardian ad Litem 25th anniversary conference,(2003)
Participant:
Sustainability and Solidarity,(2009-10)
Kingian Nonviolence,(2009)
Theater of the Oppressed Facilitator Training,(2008,2012)
Satyagraha and Climate Change(2008)
Teaching Kids Who Look Different,(2008)
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Beyond Diversity,(2007,2009)
The Seventh Generation Teacher Program,Timberlake Farms,(2005)
NC Center for the Advancement of Teaching:Writing the Stories of our Lives,(2004)
North Carolina English Teacher Association Conference,(2001-2002)
Day of the Poet Literacy Team,(2000-2004)
Fellowships, Grants, and Funding:
North Carolina Arts Council Grant-$12,000(2014)
Orange County Arts Commission Grant-$4500 Education Coalition(2013)
California Polytech State University,Pomona,CA(2007)
•Awarded a fellowship to the Ahimsa Center for the Gandhi:Nonviolence and the 21'Century
Curriculum Institute
PTSA funding-$7,000,(2001-present)
Public School foundation grant-$750,(2006)
Brave New Voices Literacy grant-$4000, (2005)
Chapel Hill Historic Society-$1500 grant,(2004)
Public School Foundation-$3000 grant,(2003-4)
Strowd Roses Foundation-$7,500 grant,(2003)
Awards:
Bernadine Sullivan Chair for Excellence in Teaching High School English,(2008)
References
Tom Stanfa
Chapel Hill High School English Depaituient Chair
1709 High School Rd.,Chapel Hill,NC 27516
•
919-929-2106 tstanfa @chccs.k12.nc.us
Dr.Arthur Romano
Associate Professor-George Mason University
4400 University Dr,Fairfax,VA 22030
646-784-0163 articulateit @gmail.com
Rachel Valentine
Community Education Director-Orange County Rape Crisis Center
1506 E Franklin St#302,Chapel Hill,NC 27514
(919)968-4647 ralentine@ocrce.org
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Organizational Budget for Chapel Hill High School Arts Academy:
Current School Year 2016-2017***: Total Operating budget$3,666
Art Supplies for Arts Focus classes (purchased $795
from Blick)
Field Trip costs(transportation,admission, and 775
substitute costs); Nasher Museum, NC Museum
of Art
Artist Stipend fees $1800
Technology(color printer cartridges, photo $295
paper)
Total: ***projected expenses Projected$3666
2015-2016 School Year: Total Operating budget$3,666
Art Supplies for Arts Focus classes (purchased $720
from Blick)
Field Trip costs(transportation,admission, and $685
substitute costs); Playmakers Theater
Artist Stipend fees $1000
Technology (Mac computer for student work $1260
station)
Total: $3665
2014-2015 School Year: Total Operating budget$3,666
Art Supplies for Arts Focus classes (purchased $845
from Blick)
Field Trip costs(transportation,admission, and $450
substitute costs);Ackland Art Museum;
Playmakers Theater
Artist Stipend fees $1250
Technology (Mac computer for student work $1120
station)
Total: $3665
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Artist Contact for grant proposal:
Kane Smego
12720 Caswell Ave.#210
Los Angeles, CA 90066
kanesmegoPgmail.com
443-315-3307
CHHS Cultural Arts Department: It is worth noting,that almost all of these teachers teach multiple
levels for their respective courses.
CHHS Teacher Class Email address
Name
John Carmichael Band jcarmichael @chccs.k12.nc.us
Danielle Cohen Dance dcohen @chccs.k12.nc.us
Jeremy Nabors Chorus jnabors @chccs=k12.nc.us
David Antle Drawing and Painting; dantle @chccs.k12.nc.us
AP Art History
Kristen Morgan Ceramics, Creative kmorgan @chccs.kl2.nc.us
Experiments
Corrie Franklin Orchestra cfranklin @chccs.k12.nc.us
Thomas Drago Theater tdrago @chccs.k12.nc.us
Andrew Way Technical Theater away @chccs.kl2.nc.us
I>:
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CHCCS Board Members
James Barrett, Chair
100 Morgan Bluff Lane
Chapel Hill, NC 27517
919-593-0592
I jbarrett @chccs.k12.nc.us
Four-year term expires in 2017.
Annetta Stokes Streeter, Vice
Chair
11 Heather Court
Chapel Hill, NC 27517
919-918-2037
astreater@chccs.k12.nc.us F'
Four-year term expires in 2019.
0 Ms. Joel Broun
107 Creekside Cr.
• Carrboro, NC 27510
919-357-3647
jbroun @chccs.k12.nc.us
Term expires in 2017.
-: Rani Dasi
8509 Balmoral Pl.
Chapel Hill, NC 27516
4.
919-869-7055
rdasi @chccs.k12.nc.us
Four-year term expires in 2019.
1-
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Andrew Davidson
110 Westbury Ct.
Chapel Hill, NC 27516
919-370-9303
adavidson @chccs.k12.nc.us
Four-year term expires in 2017.
Pat Heinrich
137 Old Forest Creek Dr.
Chapel Hill, NC 27514
919-536-8866
pheinrich @chccs.k12.nc.us
Four-year term expires in 2019.
Margaret Samuels
107 Green Willow Ct.
Chapel Hill, NC 27514
919-699-4400
msamuels @chccs.k12.nc.us
Four-year term expires in 2019.
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Sample programs, press, or other materials from this or similar past programs:
"Spoken word is the combination of enlightening,emotionally charged expression, and
eloquent writing.Kane Smego is the pure embodiment of the essence of this ancient art form."
—The Legendary Black Ice(Def Poet,Tony Award-winner)
After helping grow Sacrificial Poets from a slam team
to an educational fixture, Kane Smego heads west
By Chris Vitiello @chrisvitiello
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Kane Smego calls himself NovaKane,but he's anything but numb—especially as he prepares to leave the
Triangle for a new adventure. He's crammed his books in a car and is about to motor off to Los Angeles,into the
unknown."I'll be on the road for about 10 days,"Smego says."It's like the metaphor of'the path,'just riding out by
myself,you know?"
The restless performer,writer and educator has rocked major poetry slams and inspired countless Triangle
students through Sacrificial Poets,an educational spoken-word nonprofit he helped start in 2005.
He's also been a poet-correspondent from the Arab Spring,a turning point when five Chapel Hill High School
buddies running a slam team dedicated themselves to a more serious social-justice mission.
In the summer of 2011,Smego,fellow Sacrificial Poets founder Will McInerney and N.C.State students Mohammad
Moussa and Sameer Abdel-Khalek spent two months in Egypt and Tunisia,collecting oral histories and writing
poems from the midst of the revolutionary wave.
Although the big protests happened earlier in the year,the countries were dealing with their much dicier
aftermaths.Sacrificial Poets captured the faces and voices of this social and political uncertainty in a project called
"Poetic Portraits of a Revolution,"producing a weekly audio segment that aired on WUNC program
and earning a 2011 Arts Award in the process.
"It was eye-opening for us,as artists,trying to synthesize all of that and create a piece every week that we had to
write,script and record huddled under a blanket,"Smego says."Every Tuesday,we were up until 7 a.m.producing
that piece[for a Wednesday deadline]."
Smego wasn't just making documentary art; he was meeting activists and artists who were transforming their
country.He and McInerney knew they couldn't just return to the slam circuit once they came home.
"The Sacrificial Poets didn't become a nonprofit until we came back,"Smego says,noting that cofounders CJ Suitt,
George"G"Yamazawa and Jake Jacoby had also been thinking along revolutionary lines."Egypt and Tunisia was the
impetus behind thinking,'Yeah,I think we can do it.We can take this to the next level and develop a strategy so we
can reach way more kids."
Fast-forward to the present.Smego is now an experienced teacher who has conducted high-energy spoken-word
workshops and led powerful youth slam performances in 17 states as well as every corner of the Triangle.
He's developed Sacrificial Poets's"YouTh ink"curriculum and founded an afterschool program called Poetic Justice
for underserved Durham youth.
Sacrificial Poets is well integrated into the educational landscape here,and the organization's name commands
respect in big slam scenes around the country.
Smego himself has serious spoken-word mettle.A Bull City Slam Team mainstay,he was part of the 2010 squad
that finished third at the National Poetry Slam in St. Paul, Minnesota.That same year,he won the Southern Fried
Poetry Slam Regional Festival in Knoxville,Tennessee.
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In 2008, he claimed the Lake Eden Arts Festival slam title over several national champions and placed 14th in an
international field at the Individual World Poetry Slam.
But despite his full trophy case,he hasn't participated in slams since 2010.Its a common situation for people who
excel in their fields.You work hard,hone your skills and garner attention.
To make a living,you parlay that success into some teaching gigs,which are such a revelation for arts-starved
students that your workshops become high-demand.You find yourself writing lesson plans,grant applications and
curricula—but not many poems.
After helping Sacrificial Poets grow into an influential pedagogical platform,Smego craves new students,different
racial dynamics,communities with different issues and,most of all,a lot more poetry.
"Right now I live literally a block away from the apartments I grew up in [on Morreene Road in Durham],"he says.
"So a lot of the things I talk about,like my childhood and my perspectives on race and class and gender as it
relates to growing up in a single-mother household,all that has formed my voice.I'm excited to see how that
changes once I'm in a new place."
Smego will continue to teach in Los Angeles,but he's looking forward to teaching less in order to do more creative
work. He's writing a one-person show and admits that he would love to dabble in front of a camera,too.
Sacrificial Poets as a local institution will go on as usual—insofar as that's possible without Smego,whose departure marks an organizational turn into middle age.
With hordes more artists,filmmakers,poets and performers than the Triangle, Los Angeles represents infinite
possibility to Smego.
is
"I've had some amazing mentors and I'm feeling like I'm ready for the next stage of learning,"Smego says."I want
to grow more as an educator.And as a solo artist,I'm excited about spreading my wings to see what I can do."
"And,"he adds,laughing,"no polar vortex for me this winter."
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Other Voices—Spoken Word Cabaret(Other Voices/PBH's Free Fringe) I ThreeWeeks Edinburgh 12/6/16, 10:30 AM
viyi
ED2013 0/5 REVIEWS ED2013 WORDS & EVENTS REVIEWS
Other Voices - Spoken Word Cabaret (Other
Voices / PBH's Free Fringe)
By Elizabeth Jewell I Published on Sunday 11 August 2013
With the Banshee Labyrinth decked out to look part-cave, part-boudoir, you can tell
you're in for something special; `Other Voices' is a showcase of spoken word at its best.
Slick, confident yet intimate, it's a remarkable show. Four excellent poets were featured,
but highlights undoubtedly came from the open mic section; after the scheduled act didn't
arrive, and following some audience encouragement, someone known only as Toby
performed. His was a poem of unexpected and intense beauty: not bad for someone whose
last name nobody caught. The final act was American duo Kane and G Yamazawa, who
were just phenomenal. Their double act was intricately worded, immaculately rehearsed,
funny and powerful. Don't miss this, it's wonderful.
The Banshee Labyrinth, until 26 Aug (not 7, 14, 21), 2.50pm.
tw rating 5/5 1 [Elizabeth Jewell]
CET MORE TVV
SIGN UP TO THREEWEEKS FOR FREE I READ OUR YEAR-ROUND GUIDE TO CULTURE IN LONDON
OR READ MORE ABOUT: Banshee Labyrinth I Other Voices I PBH's Free Fringe
http://www.threeweeks.co.uk/article/ed2013-words-events-review-other-voices-spoken-word-cabaret-other-voices-pbhs-free-fringe/ Page 1 of 3
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DOUBLE CONSCIOUSNESS
Purpose: This workshop is designed to explore identity--those that we feel we are
confined to or even forced into,those we feel best describe us,and those we aspire to
embody. It also gets participants to think about the unique perspectives that they hold,and
to celebrate the value and validity of these perspectives.
Models and Materials:
• Excerpt on Double Consciousness from W.E.B. Dubois' The Souls of Black Folk
• Iceberg model
Overview of Activities:
• Begin the workshop by showing the class the following quote about`double-
consciousness'from W.E.B. Dubois' The Souls of Black Folk Explain that Dubois was
an African American sociologist,historian, activist,and writer who helped found the
NAACP and made many important contributions to the understanding of the black
experience in the early 1900s.
"It is a peculiar sensation, this double-consciousness, this sense of always looking at one's self
through the eyes of others, of measuring one's soul by the tape of a world that looks on in
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amused contempt and pity. One ever feels his two-ness,—an American, a Negro; two souls, two
thoughts, two unreconciled strivings; two warring ideals in one dark body, whose dogged
strength alone keeps it from being torn asunder."
• Explain that in talking about double-consciousness Dubois was describing the way
in which African Americans during that time period were always aware of the
person they knew themselves to be, as well as the self that other projected onto
them and which was constructed by stereotypes and assumptions. Explain that we
all experience this in different ways,as we are often aware of the stereotypes and
assumptions that others project onto us based on our race,gender, class, style of
dress, accent,national origin, etc. �-
• On the blackboard, draw the iceberg model below,and ask the class what
percentage of an iceberg is usually showing (10 %). Explain that people are similar
in this way,and that 90% of who we are lies below the surface of what people can
tell when they see us. Have the class give examples of the aspects that would lie on
the tip of the iceberg(race,gender, class, clothing,tattoos,piercings, accent,
hairstyle,body type,etc.) and write these on the diagram you have drawn on the
board.Then ask them to list some of the aspects that would fall below the surface
(personality, struggles/experiences,talents,beliefs,dreams/aspirations, etc.).
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Explain that spoken word is a tool that we can use to tell our story and dispel some
of the assumptions people make about us by speaking from our own unique places
below the surface.
• Watch George Yamazawa Jr.'s poem 10 Things You Should Know About Being An
Asian from the South and/or read Patricia Smith's What It's Like to Be a Black Girl
(for those of you who aren't) as models. Then, tell participants that they will be !r
writing a list poem just like Yamazawa's based on a unique identity or perspective
they hold and utilizing the list poem format (10 numbers in this case). Have them
Y g P ( )
start by taking a few minutes to develop their title, which will be "10 Things You
Should Know About Being ", filling in the blank with this unique identity. Ask
them to be as specific as possible (Yamazawa's poem is not about simply being an
immigrant, or about being Asian, but about being "Asian in the South," which is a
much more unique and specific perspective).
• Have participants write for 20 minutes
• Sharing
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30-Word to 6-Word Stories
Purpose: This workshop emphasizes the importance of being concise in poetry,and
using images to be succinct. It challenges participants to pay careful attention to
their diction within the confines of a word limit. It also introduces them to the genre
of flash fiction as made popular by writers like Ernest Hemingway.
• Have participants pick an important memory from their lives. Explain that
this can be a memory that is funny, serious,joyful, exciting, sad,or just
important to them for any reason. If they have created a list of 10 events
from their lives in another one of these workshops,they may draw from that
list.
• Now,have them tell the story of this memory by only using exactly 30
words. Remind them that poetry is the art of being concise, or saying as
much as possible in as few words as possible. Remind them that images or
sensory information can tell us a lot,and poetry can use sentence fragments,
so tell them to try to focus in on the most important image, sound,smell,
taste,etc. and to use only the words that are absolutely necessary. Give them
about 10 minutes.
• Now,tell them to cut their story down from 30 words to only 20 words.
Explain that they may cross out words, or rewrite certain parts if they need
to. Suggest that they start by getting rid of some of the articles (like the,a,
an) and conjunctions (like and, or,but) that aren't necessary, and then move
on to the other words.Tell them to make sure that the words they cross out
are still visible,since we will want to be able to see what they got rid of later
in the workshop. Give them 3-5 minutes to do this.
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• Next,have them cut their story to 10 words. Give them 3-5 more minutes to
do this.
• Finally,have them cut their story to 6 words. Give them a couple of minutes
to do this.
• Before sharing,Write the following example of a 6-word story by Ernest
Hemingway on the board,and explain that this is an example of a genre of
writing called flash fiction. Have them read the story silently and without
speaking,try to decide what they think it means.Then,ask for volunteers to
give their interpretations.The most widely accepted interpretation is that a
couple experienced a miscarriage. Some clever students have suggested
alternative,and more positive explanations such as the shoes the parents
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bought were so ugly that the baby cried the first time they tried to put them
on, so they are selling them.
*** Flash fiction is a style of fictional literature or fiction of extreme brevity.There is no widely
accepted definition of the length of the category.Some self-described markets for flash fiction impose
caps as low as three hundred words,while others consider stories as long as a thousand words to be
flash fiction.(from Wikipedia)
Ex. For sale: Baby shoes,never worn.
• Explain the importance of punctuation, and the ways in which it helps us
instruct the reader on how to "hear" and interpret the poem. In Hemingway's
piece,he uses three different forms of punctuation.Ask them what the colon,
the comma,and the period each tell the reader.Next, show them one more
example of a short story that illustrates the importance of punctuation and
the ways that it can change the meaning of a piece:
Ex. Hey let's eat, Grandpa! vs. Hey let's eat Grandpa!
• Sometimes,commas truly do save lives!
• Now,have each student read their 6-word story aloud,followed by their 30-
word story.As they read their 6-word story,write it on the board, and have
them instruct you on what punctuation they used. Once they have read both
versions aloud ask the class which one they liked better,the 6-word or 30-
word,and have them explain why.
• This workshop is an excellent way to get new writers to engage with poetry
and storytelling as it only asks them to write a short piece, and emphasizes
that it is the quality not the quantity of words that is important in poetry.For
participants who have ever played sports, I often use the analogy that this
exercise is like writing a poem with ankle weights on.When you practice a
sport with ankle weights,you feel heavy and sluggish,but then when you
play with them off the next week you feel light and powerful. Now that they
have written a poem with ankle weights on,it should feel very freeing to be
able to tell the same story or a similar one without a word limit. However,
challenge them to use this activity as a reminder of the importance of making
every word count!
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IU
COLLECTIVE NOUNS AND 30 WORD STORIES
Purpose: This workshop serves as a good beginner-level exploration of metaphor
as participants use collective nouns and the vocabulary related to them to create
powerful descriptions. In addition,it emphasizes the practice of being concise in
poetry as they are challenged to create narratives with only 30 words.
• Review the definition of a metaphor with the class,explaining that
metaphors can be created using a variety of different sentence/line
structures and word orders.
• Have the class help create a list of collective nouns on the board,helping
them along with examples and grouping them into three categories: animals,
military,and miscellaneous
• The final list should look something like this:
Animal Military Miscellaneous
Pride Squad Garden
Swarm Brigade Congregation
Pack Battalion Parliament
Flock Regiment Bouquet
Pod Cavalry Mob
Gaggle Infantry Procession
Murder Fleet Reunion
Herd Troop Gathering
Hive Legion Crew
Colony Force Parade
Litter Invasion Blizzard
• Instruct participants to write three poetic lines that use collective nouns to
creative powerful descriptions with metaphor.Each line can describe a
different event or scene, or they can all describe the same one.They should
use the structure"a (collective noun) of(plural noun)" and follow the
examples below:
Ex. My mother cried a swarm of tears the day my grandfather died.
It was so cold that my breath was a gathering of ghosts.
She came to my doorstep with a bouquet of apologies.
• Have participants share a line or two that they came up with.
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• Finally,have participants pick one important moment from their lives (they
may use one of the 10 Events they listed if they have taken part in the
workshop already).Their task is to tell the story of this event in only 30
words (use the"30 to 6 Word Stories"workshop), and using collective
nouns to create metaphors that tell a lot of sensory information while being
concise.
kr
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I Am From...
Purpose: "I am from" poems are some of the most common poems used in poetry workshops.
They are universal, as everyone has an origin and a place where they find their roots. This
workshop serves as an exploration of identity through describing the place, people, and culture
that one comes from. In addition, it introduces the concept of"showing" rather than "telling" in
poetry, or using vivid images rather than plain, explanatory language to tell a story.
• Play the song"Habitat" by Mosdef, and have the class analyze the lyrical text picking out
the most vivid images. Explain the idea that much of who we are comes from where we
are from, and that the place, people and culture we come often plays a big part in how
we identify.
• Have participants write the word "Place" on their paper, and then write three sentences
or phrases that describe the place they are from, considering the different senses. Write
an example on the board.
*Ex. - Place: red brick apartment buildings, the buzz of cicadas at night,the aroma of
honeysuckle trees outside the living room window
• Next, have participants write the word "People" on their paper, and then list three
people who have been very important in their lives. These can be family members or
relatives, friends, neighbors,teachers, mentors, etc.
*Ex.—People: my mother, my best friend Sergio, my little league coach Jacobs
• Next, have participants write the word "Personal" on their paper. In this section, they
are going to brainstorm three aspects of their own personal interests or passions
growing up:their favorite food, their favorite thing to do, and their favorite book/T.V.
show/movie/artist. They may consider cultures or subcultures they come from (chicano
culture, or skateboarding subculture) in giving their answers.
*Grandma's "arroz con polio", drawing,the Hunger Games
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• Explain the concept of a refrain as a literary element used in poetry.Then, have
participants write a poem using the refrain "I am from" which includes information
about the place they are from (city, neighborhood, buildin g),the people they are from
(family, friends, neighbors), and their personal interests. The poem must be at least 15
lines, and focus on using images to describe these different elements of their origin. For
example, instead of saying"I am from my grandmother,"they should think of a sensory
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representation or defining aspect of their grandmother to produce a line like: I am from
the callouses on my Grandmother's hands as she bakes bread. Halfway through the
writing period, ask the participants to make sure to incorporate one quote from their
childhood, perhaps something a relative told them regularly, or something that was said
to them in an important life moment. For example,they could say: I am from my mother
telling me "make sure you're in before the streetlights come on!"
• Sharing
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Sample work by artist Kane Smego:
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For a full overview of Kane's artistic work and accomplishments, please vis, tk nsme oc m
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Enjoy the following Spoken Word poems,which you can access from the video link on the websit :
Link to X Chromosome h!lm2www:u! b.mmw%v?vBOZUmigEAmm
Link to The Border Am9www.mu b.mm w%h v D Eiaes HY
Link to Dr. King Poem Am2www.yu! b.mmw%h?=Nx3DHE0
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