SPOKEN

WORD
GUIDELINES
a best practice guide for educators
third edition march 2017
INTRODUCTION AND
ACKNOWLEDGEMENTS

Nau mai, Haere Mai, Welcome Hello

This document is for spoken word educators, teachers, youth workers and I have been a fan of Action Education for quite some time and getting to
anyone else who is interested in the positive development of young people work with Ramon and the crew has been a real blessing. They have built a
and learning through creative expression. culture and community around Spoken Word in Aotearoa that is unique,
powerful and thriving. A perfect example of that happens when artists live up
In recent years we have seen the exponential growth of spoken word poetry in to what they say.
popular culture. Young people in particular have connected with this media and
have found a platform to share their opinions, voice and stories. To me, it’s never been just about the art. It’s been about what happens when
the poems finish. When the poem becomes less a piece of art and more a
Spoken word has become a powerful developmental tool that is used by blueprint for the change we want to see in our lives and community.
youth workers and educators around the world.
Spoken Word helps to cultivate stronger literacy and public speaking skills.
This guide is the beginning of a conversation to enhance the quality and It encourages critical thinking and builds self-confidence. Most importantly,
practice of working with young people when using this art form. it encourages empathy. It allows students a safe and powerful medium to
understand their peers and question their place in the world, while engaging
in a dialogue with it.

One of the things that this guide is designed to do, and what Action Ed and
the South Auckland Poet’s Collective do so well, is to create an understanding
“When you ignite the passion of young of the art form at a ground level, to provide tools for both beginning poets
and educators. It’s a great starting point for anyone who wants to provide
people and they have a platform to new platforms for youth voice, a compass to navigate the often rebellious
express who they are it inspires them to and awkward language of the heart, a blueprint for the future of poetry in
New Zealand and beyond.
become actively engaged in their own
development” Special acknowledgements to Youthline, Grace Taylor and those whom
previously worked on this resource, the families, educators and schools who
have been a part of the journey and most of all, to the poets.

Ramon Narayan - Action Education Manager Ken Arkind , US National Poetry Slam Champion, Arts Educator and
Editor for 2017 edition.

A Special Thank You:

to The Vodafone Foundation, The South

Auckland Poets Collective and Talia
McNaughton, Rachel Willaimson and David
Taylor.
CONTENTS

2 Introduction to Spoken Word

3 The Journey of Spoken Word

7 Slams and Open Mic Sessions

9 Dispelling the Myths of Spoken Word Poetry

10 An Educators Guide to Spoken Word

13 A Trouble Shooting Guide for Spoken Word Educators

15 How to put on a Spoken Word Poetry Showcase with Young People

16 New Zealand Curriculum Alignment

20 Examples of Spoken Word Activities

33 Appendix 1: Spoken Word Poetry Links- New Zealand/ International

47 Appendix 2: Tips on how to start a slam team for Word The Frontline

49 Appendix 3: Youthline’s approach to postvention

53 Appendix 4: Ice Breakers

55 Spoken Word Poetry Glossary

Action Education offers a variety of Spoken Word Poetry programmes that can be delivered over a series of weeks, or
as one-off workshops. We have a variety of themes that we work with and can also cater to the specific needs of your
group. The programmes can be delivered in community settings and within schools and are aligned to the New Zealand
Curriculum.

The programmes are designed to give young people the tools and confidence to be able to articulate their own journey,
experiences and world view. Action Education is proud to have the experienced and professional facilitators of the
South Auckland Poets Collective leading these dynamic youth development programmes.

We also provide professional development in this area and training in the use of this guide. If this is of interest please
contact us to sign up for Professional Development opportunities in Spoken Word Poetry facilitation.

Contact details

Ramon Narayan [email protected]

Action Education Manager (09) 361 4176 021 231 0066
 “There’s something in my mouth,
Right behind my molars,
lodged under my tongue,
It’s singing,
It’s humming…”
– Jennifer Rockwell

1
INTRODUCTION TO
SPOKEN WORD

Traditionally poetry has been written to be read off the page. Spoken Word is THE LANDSCAPE OF SPOKEN WORD POETRY
poetry that has been written to be performed and is based on the interaction
between the performer and the audience. When Spoken Word is performed “Spoken Word poetry is definitely not a new literary art form, taking its
it gives a greater insight and a humanised experience which forces the origins as far back as the Ancient Greeks, Orators of Oceania, and if you are
audience not only to engage in the content of the poem but also the person religious, the Word spoken to create the world we live in today.
behind the words. Spoken Word is storytelling and can be identified through
its conversational tone and dialogical nature with the audience. Spoken The phenomenon of the Spoken Word poetry movement we see and
Word combines poetry with theatre and movement to create a dynamic and hear today are young, loud, creative, intelligent and inspiring poets taking
engaging experience which draws the audience into the world of the poet. ownership for their thoughts, ideas and voice.”

“Spoken Word is poetry intended for onstage performance, rather than

exclusively designed for the page. While often associated with hip-hop
lant
to p
culture, it also has strong ties to storytelling, modern poetry, post-modern Ch ild
d I wish eep.
e roas hild
an nes d ce,
Aot as c blood
li dan
performance, and monologue theatre, as well as jazz, blues, and folk music. earo n this
m Aot fresh o o b reak .....
Ia s g, t at last ..
Due to its immediacy and direct rapport with its audience, this type of step son
foot this to soa
r
ing ,
to s is wall ms
poetry often contains references to current events and issues relevant to a h
I wis mb th drea
to b
o here
th, w .
contemporary audience. h.... le sm
o o
es
I wis jung time blu
ban
RD
n s.
h is ur in daw day
O
t
I roll quick ging rang
e
t o n ra h st
At its best, Spoken Word is a powerful, high-energy form of expression that W sw if
e st
ree t s
reac
N e s w ho p
KE et h ose
attracts artists and audiences of all ages from a wide range of disciplines and n I rag y th
O ke ash
ed b
socio-cultural backgrounds. SP spo I’ m squ
.
ally
s.
way s ch
ild
r ic eroa
Ly Ia m Aot
nd
.
y la
nds
.
I sta man
In a basic sense, Spoken Word is a rhythmic poetry. It is performed d h ere
p f r om
An e
n de
enthusiastically (be it vibrant or emotional), rather than just read plainly. Like ts ru
roo
My
other art forms, it is a form of self-expression, and can be used as therapy for I am
.

the artist and the listener.”

(Urban Dictionary)

2
THE JOURNEY OF
SPOKEN WORD

AOTEAROA NEW ZEALAND South Auckland Poets Collective (2007)

Spoken Word poetry within Aotearoa has a broad history that takes its The South Auckland Poets Collective (SAPC) have been meeting and
existence within different art forms. Perhaps the best way to describe it is to performing their own Pacific brand of Spoken Word poetry since 2008. The
recognise that Spoken Word poetry in Aotearoa has been shaped and grown Collective started off as a Youthline project to help young people express
by many different contributors, cultures and generations. their views and opinions through poetry. It has grown into a family of poets
young and old(er), who push each other to move forward in their craft. SAPC
From Hip Hop, Beat poets, world renowned Maori, Pacific and New Zealand work in collaboration with Action Education to provide workshops for young
poets, street poets, theatre, open mic nights, poetry slams, poetry collectives. people in schools and community settings.

Some of these key artists, pioneers, events and initiatives are outlined below. www.sapcnz.com

Street poets Black (1982) The Litterati

Founded by Rev Mua Strickson-Pua (Poet & Community Leader) as Brought together in late 2005 by Shane Hollands, Auckland-based
potentially one of the first performance poetry collectives in New Zealand. performance poetry group The Literatti, have been presenting their fusion of
A group of Pasifikan poets, dancers, actors, comedians, and storytellers, this poetry, music, and theatre to delighted audiences since 2006. The Literatti
group has taken their unique Pasifika street theatre performances on tour utilise aspects of theatre, music, song, and still and moving visual art to
around the country. supplement performance and poetry. We do not read or even recite poetry,
Literartists work to personify poetry. With their signature multiple-poet
PolyNation Show (2008) performance pieces, The Literatti create an almost symphonic display of
contemporary word play. The group creates an atmosphere or environment
This show is of significance as it was the catalyst of the collective within which the poem can exist using sets, back-drops and other elements
performance poetry idea that Daren Kamali presented to what is now known which are usually considered to belong to the realm of theatre, transforming
as the South Auckland Poets Collective. The show was founded by Pacific the poem into a living entity with movement, breath and behaviour.
poet Doug Poole and featured some of New Zealands leading Pacific poets,
Tusiata Avia, Selina Tusitala Marsh, Karlo Mila, Daren Kamali, Mua Strickson- New Zealand National Poetry Slam
Pua, Serie Marsh, Kath Hayward – Nathan. Featured at the Queensland
Poetry Festival and Going West Festival. Dedicated to furthering awareness and appreciation of poetry and live
performance, the NZ Poetry Slam organizes, promotes, and executes a yearly
Poetry Live National Poetry Slam to crown NZ’s top performance poets in the nation.
Founded 2011 by Michael Rudd and Michelle Bolton, NZ Poetry Slam has
New Zealand’s longest running, dedicated poetry event, Poetry Live has been grown to encompass multiple regions throughout NZ while bringing slam
a hub for the poetry community for over thirty years, with a weekly guest to thousands of Kiwi’s. Over the year, Local venues hold slams to determine
poet, guest musician and open mic section where anyone can perform or who will represent their region at the National Final. The slam is for people
read. 18 years of age or older.

Poetry Live has provided a platform for many emerging poets to expose their http://www.newzealandpoetryslam.com/
poetry to a wider audience as well as hosting international poets.

Every Tuesday 8pm at the Thirsty Dog, Auckland, Koha Entry.

www.poetrylive.co.nz

3
Rising Voices (2011)

Rising Voices Youth Poetry Movement provides workshops and performance

opportunities for Aotearoa’s young writers to help give our future leaders a
platform to speak.

Founded in 2011 by Grace Taylor and Jai MacDonald Rising Voices became a
charitable trust in 2016. RV provides a 7 to 8 week leadership development
programme to poets in Christchurch and Auckland, culminating in three
performance events: a Regional Poetry Slam in each city and a Grand Slam
Finals in Auckland.

NZ’s first youth poetry slam, this unique opportunity gives Aotearoa’s
young writers a chance to work with exceptionally talented professionals
in a nurturing environment before stepping out on some of New Zealand’s
biggest stages.

https://www.facebook.com/RisingVoicesMovement/

Canterbury Poets Collective

Organises poetry readings and publications through the Sudden Valley Press
and Poets Group. A season of readings each year (national, international, and
local poets).

Catalyst “These streets are veins because

Catalyst began as a literary journal in 2003 born out of creative writing Auckland is an entire body. And we
classes and open mics set up by Doc Drumheller. Both the publishing and being form the South means we
performance aspects of Catalyst have continued to flourish in the years
since. Catalyst is now a community, an open mic, a touring road show and an must be the feet that so many others
international literary arts journal. Catalyst often publishes work in translation would beg to kiss.”
and has featured a dozen different languages since it started. It showcases
visual art and design alongside poetry and sometimes the intersection of - Raneem Caco
the two. Catalyst was the first literary journal in NZ to launch a spoken word
CD series and has produced 3 collections of poetry/music collaborations
since 2006. As a publication, community and performance showcase it has
featured in successive Christchurch Writers’ Festivals since 2008.

https://www.facebook.com/catalyst.journal/

4
INTERNATIONAL – matured in an enhanced critical literacy environment – Urban Word looks
to improve self confidence and strengthen educational achievement for NYC’s
From a youth framework perspective, the Spoken Word poetry movement youth.
gained momentum in the USA with arts education organisations such as
Youth Speaks Ltd and Urban Word NYC. The hugely popular HBO and Russell By design, and through the promotion of active literacy, critical thought, and
Simmons TV series Def Jam Poetry introduced the art form to new audiences. positive social dialogue across boundaries (of age, race, class, gender, culture,
With YouTube, the series experienced a revival and alongside poetry channels and sexuality), our programs enhance critical thinking skills and leadership, and
such as Button Poetry, helped to drive spoken word to become the global ignite youth to commit to personal growth and learning which ultimately leads
phenomenon that it is now. to heightened school performance, and greater interest in pursuing higher
education.
Button Poetry
www.urbanwordnyc.org
Started in the Twin Cities, MN region fo the United States, Button is an
organization dedicated to producing high quality spoken word media. Def Poetry Jam
Primarily known for their YoutTube channel. Their videos have received views
in the millions and have helped to create the viral poetry phenomenon. Also known as Russell Simmons Presents Def Poetry or Def Poetry Jam, which
https://www.youtube.com/user/ButtonPoetry was co-founded by Bruce George, Danny Simmons and Deborah Pointer, is
an HBO television series produced by hip-hop music entrepreneur, Russell
Youth Speaks Limited Simmons. The series presents performances by established Spoken Word
poets, as well as up-and-coming ones.
The longest running and leading organization internationally that delivers Well-known actors and musicians will often surprise the audience by showing
youth poetry programmes across USA. Founded in 1996, San Francisco USA, up to recite their own original poems. The show is hosted by Mos Def. Def
Youth Speaks works with 45,000 teens in the Bay Area alone, and has helped to Poetry is a spin-off of Def Comedy Jam. As he did on Def Comedy, Simmons
create partner programmes in 47 cities across the United States. Youth Speaks appears at the end of every episode to thank the audience.
is also the creator and producer of the largest youth poetry slam/festival in the
world, Brave New Voices. www.youtube.com/user/DEFPoetryHBO

Youth Speaks shifts the perceptions of youth by combating illiteracy, alienation, Brave New Voices Festival
and silence, creating a global movement of Brave New Voices bringing the
noise from the margins to the core. Created by Youth Speaks Inc in1998 after the inaugural Youth Speaks Teen
Poetry Slam in San Francisco – the first poetry slam dedicated to youth in the
We create safe spaces to empower the next generation of leaders, self defined world. Since that time, Brave New Voices has grown to represent youth from
artists, and visionary activists through written and oral literacies, we are able all across the United States and several cities and countries around the world.
to challenge youth to find, develop, publicly present and apply their voices as BNV is the largest ongoing Spoken Word poetry event in the world. On average,
creators of social change. 50 teams of young poets compete is this annual event.

http://youthspeaks.org The festival is not just a slam, it involves teachers training conference, writing
and performance workshops, open mic nights, National Queer Open Mic and
Urban Word NYC much more.

Founded in 1999, Urban Word (UW) is at the forefront of the youth Spoken Brave New Voices is the catalyst for youth poetry slams across the world.
Word, poetry and hip-hip movements in New York City. Urban Word NYC offers Their YouTube videos are accessed immensely by young and emerging poets
a comprehensive roster of programs during the school day and afterschool internationally and have been the major driving force behind the Spoken
hours and conducts diverse programmatic offerings in the areas of creative Word poetry movement.
writing, journalism, college prep, literature and hip-hop. UW presents local
and national youth poetry slams, festivals, readings, open mics and more. In Brave New Voices has also featured as a HBO series in 2008 & 2010.
2001-12 Urban Word worked with over 15,000 New York City teens and its
partner programs across the United States. Believing that free self-expression www.youtube.com/watch?feature=player_embedded&v=GRtVIEm4OJY

5
 “Lift your gaze to wear the waves
kiss the clouds and you can sail
on my horizon…”
- Sheldon Rua

Louder Than A Bomb

From a youth framework perspective, the Spoken Word poetry movement

gained momentum in the USA with arts education organisations such as
Youth Speaks Ltd and Urban Word NYC. The hugely popular HBO and Russell
Simmons TV series Def Jam Poetry introduced the art form to new audiences.
With YouTube, the series experienced a revival and alongside poetry
channels such as Button Poetry, helped to drive spoken word to become the
global phenomenon that it is now.

Bankstown Poetry Slam

The largest ongoing poetry slam series in Australia, The Bankstown Poetry
Slam was started by Western Sydney University Students in 2013 and now
draws audiences of up 300 from many different backgrounds.

http://www.bankstownpoetryslam.com/

Apples & Snakes

Established in 1982, Apples and Snakes is often thought to be Britain’s most

influencial performance poetry organization, with branches all over the UK.
They offer ongoing reading series, workshops, professional development and
media.

http://applesandsnakes.org/

Pacific Tongues

‘Pacific Tongues is a nonprofit organization that cultivates an active artistic

Oceanic community of writers, spoken word performers, leaders, educators
and students of all ages. Our commitment is to honor the practice of kuleana
through creative workshops, public events and pedagogical development.

O'ahu, 2005-- It began with a program called Youth Speaks Hawai'i.

Eventually, Youth Speaks Hawai'i was a banner too small to represent the
Pacific. Pacific Tongues emerged, creating a cross-cultural exchange of
Pacific voices through performances, spoken arts education, community
engagement and youth development. In addition to local and regional
stages, Pacific Tongues provides an educational practice accessible for
classrooms. While based in Hawai'i, Pacific Tongues also has partners in
Guahan, Palau and Aotearoa.’

6
SLAMS AND OPEN MIC
SESSIONS

POETRY SLAMS or SLAM WORD UP! (SLAM)

A Poetry slam is the art of competitive performance poetry. Invented in the Corban Estate Arts Centre and Going West Books and Writers Festival, are
1980s by a Chicago construction worker named Marc Smith (so what?), slam proud to present WORDUP! Word Up is an exciting word-based performance
is a fast-paced competition where poets have a limited amount of time to competition which gives 13-20 year-olds the opportunity to present their
impress a panel of judges, who traditionally were randomly selected from original work in any word based genre, from rap, poetry, spoken word, music
the audience. Although some slams have special judges who are experienced or even stand-up
poets or song writers.
http://www.ceac.org.nz/youth_arts/word_up!.aspx

Word The Front line

JAFA SLAM
“A poetry slam with the purpose of engaging and growing the potential of
our future leaders” AFA Slam is a monthly slam that takes place every 4th Tuesday of the month
in Central Auckland. Created with the belief that the points a rent the point,
Word TFL is an inter-high school Spoken Word poetry competition facilitated the point is poetry. The show has a short open mic, followed by a featured
by Action Education and The South Auckland Poets Collective. Word TFL performer and then a 3 round, 8 person slam. The event and Open mic is all
brings together teams of young people from across Auckland high schools to ages but competitors are 18+.
share their stories in an explosion of youth expression. It is the first Spoken
Word poetry slam of its kind in New Zealand aimed at secondary high school https://web.facebook.com/JAFApoetryslam/
students.

It is the only creative battlefield of its kind within Aotearoa, equipping young OPEN MICS
people with poetry prowess and leadership principles for an opportunity to
battle for themselves and the challenges that their generation face. An open mic is a live show where audience members are welcome to
perform their own poetry, or someone else’s. Usually, the performers sign
up in advance for a time slot with the host or MC. The focus of an open
Rising Voices Youth Poetry Slam (2011) mic is to provide a space for people to give spoken word poetry a go in an
encouraging environment.
Co-Founded by Grace Taylor & Jai MacDonald as the first and only youth
poetry slam in New Zealand, this event provides a platform for young
emerging Spoken Word poets who are 16 – 24 years old. A slam with a Stand Up Poetry (or S.U.P.)
difference, the poets who compete, journey together through a 6 week
writing and performance workshops series prior to the Slam. Stand Up Poetry (or S.U.P.) is a monthly open mic space for anyone who
is keen to perform or listen to home grown spoken word poetry. Action
Education, South Auckland Poets Collective and Waxed Poetic Revival
Going West Poetry Slam have all teamed up to host this event within different South Auckland and
Northshore suburbs, literally taking poetry to the people!
Brings together poets from around the country to compete in front of a live
audience as part of the popular Going West Festival across West Auckland. Dedicated to being accessible for young people, SUP is held in safe public
spaces (e.g. libraries or community centres) and often changes locations

7
in an effort to bring poetry to people who may be limited in their ability to Meow on Edward Street, with both local and touring feature poets. These
commute into more central areas of Auckland. evnts rotate between open mics, slams and special events.

SUP Northshore is held on every 1st Wednesday of the month and SUP South http://www.pim.nz/
takes place on the 3rd Wednesday of each month.

http://www.actioneducation.co.nz/sup.html

FAULTLINES POETRY COLLECTIVE

Faultline Poetry Collective is a group of writers from Ōtautahi, Aotearoa,

aiming to provide a platform for young voices to be shared. The Collective
hosts The Faultline Open Mic on the last Friday of every month at White
Elephant HQ – it is a relaxed, friendly and alcohol free venue and the mic is
open to anyone to share their work (poetry or otherwise!).

https://www.facebook.com/FaultlinePoetryChch/

Poetry Live (OPEN MIC)

New Zealand’s longest running, dedicated poetry event, Poetry Live has been
a hub for the poetry community for over thirty years, with a weekly guest
poet, guest musician and open mic section where anyone can perform or
read.

Poetry Live has provided a platform for many emerging poets to expose
their poetry to a wider audience as well as hosting international poets.Every
Tuesday 8pm at the Thirsty Dog, Auckland, Koha Entry.

www.poetrylive.co.nz

Poetry In Motion

Established in 2011 by poet and activist Ali-Jacs Siegfried and based out of
Wellington, Poetry in Motion is an inclusive group which aims to raise the
profile of spoken word as a meaningful, fun and entertaining art form and
challenge people's notions of what poetry is and can be.

Run by a committee of dedicated volunteers, Poetry in Motion holds monthly

spoken word evenings at 7:30pm on the first Wednesday of the month at

8
DISPELLING THE
MYTHS OF SPOKEN WORD
POETRY

Spoken Word poetry is rap Spoken Word poetry is just for young people

FALSE FALSE

Current Spoken Word poetry is commonly associated with rap, but that is Spoken Word poetry holds the ability to transcend borders, age, race,
more to do with its relationship to the Hip Hop culture and its 5 elements*. culture, religion, sexuality, language. Across the world Spoken Word poets
Similarities are the use of word play, rhyme and rhythm. Spoken Word poetry and audiences are becoming more diverse as this art form gains more
however is not usually accompanied with music/track. You most definitely do momentum in its growth.
not need to be a rapper to be a Spoken Word poet.
Spoken Word poetry makes you over-emotional
Spoken Word has to be abstract
FALSE
FALSE
Yes, it is true poetry can make the poet and audience feel vulnerable.
In fact quite the opposite can be true. As Spoken Word poetry is about Spoken Word poets share personal history, which can often connect with the
creating a moment between the poet and audience to exchange in an experience of the audience making it a collective experience, this is what
engaging dialogue, the aim of the poet is to be clear with their creative makes Spoken Word so powerful. When Spoken Word ventures into the very
communication. Therefore, messages are often repeated and provide an personal, this has the potential to create anxiety for the performer which can
instant understanding with the listener. be part of the personal development process of the writing. This includes
writing, reflection, inspiration, re-editing, reading aloud, hearing yourself and
Spoken Word poetry has to use poetic techniques your story, practice and rehearsing, and if you are in a group situation, a safe,
supportive feedback opportunity. These are all parts of the process in Spoken
FALSE Word poetry, and when working with young people can be facilitated into
positive youth development outcomes. It is important to remember that the
Formal poetry techniques in Spoken Word poetry are used to purely help get poet has the power to choose what they want to show in their poem.
the heart/message of the poem clearly across to the listener. With Spoken
Word poetry, we have the freedom of not being left static on a page in the
written form with our poetry able to have a life of its own in the performance
space. The main purpose of Spoken Word poetry that everyone connects
with regardless of formal poetry skill is realness/honesty/truth.

* Elements of Hip Hop, Bboying, MCing, Graffiti,

DJing and Knowledge, Culture and Understanding

9
AN EDUCATORS GUIDE
TO SPOKEN WORD

Engagement: Sparking the Fire One of the biggest barriers to education or participation we have in our
classrooms or in groups of young people is their fear of looking stupid or
The only way to introduce Spoken Word poetry is to see it in action. Ideally being mocked. These are very real fears and choosing not to engage is what
this would be best as a live performance, but utilising videos on YouTube is keeps many young people safe in our learning environments. However as we
often a more practical way to go. When you speak about poetry with young know this perception of safety does not serve their development and it is our
people who are new to it, there can often be a negative stigma surrounding role as educators to provide this safety and also shake up these “unhelpful”
it. This seems surprising when you think about the huge amount of poetry thought patterns.
young people consume everyday through music and hip hop culture, yet the
label ‘poetry’ is not attached to it. Ice Breakers can be used to break down these barriers and is a key step in
the engagement process. They encourage us to take positive risks to stretch
For many reasons, some young people have blocks or barriers in place when comfort zones and get out of the everyday experience we find ourselves
it comes to writing poetry, mainly due to their perception. These blocks trapped in.
and barriers can cause young people to have very low confidence when
engaging with literature. Spoken Word has the ability to shift this perception, As the person leading these ice breakers, role modelling is the greatest tool
increasing the accessibility of poetry to a wider group of young people at your disposal. You must set the bar of enthusiasm and engagement if
regardless of their level of literacy and current engagement in the English you want people to follow you. You want to give everyone the experience
curriculum or creative writing. of speaking, making noise or performing an action in front of everyone in a
directed and fun way which everyone engages in the process. In doing this
We have included a list of links in this resource to videos on YouTube which it increases confidence to share and try things which otherwise might have
you can use to introduce young people to Spoken Word. You may even wish been out of their grasp.
to find your own videos simply by typing in ‘Spoken Word’ or ‘def jam poetry’
into the search engine on YouTube or Google. We have included a list of ice breakers you can use which, if done at the
beginning of the workshop or class, will raise level of participation from
In terms of finding live performers, you can get in touch with Action young people. (See Appendix 4)
Education, utilising the South Auckland Poets Collective. You can also access
poets through attending local Spoken Word and open mic poetry nights, and This could feel like this a waste of time or that it is only about having fun
approaching the poets who perform there in person. rather than focusing on the task at hand. This, however, is an essential part
of the lesson plan and we often spend more time warming the class up to the
Ice Breakers writing than the actual time spent writing itself. You will find with this kind of
strategy, much more writing will take place in the 15-20 minute allocated to
In any given workshop or class with young people, the warm up through ice writing than if you just gave them a topic and 50 minutes to write about it.
breakers is an essential part of the learning process.

Young people have a number of barriers and blocks to engage in poetry, such
as:

“I’m going to get it wrong” “I can’t look like I’m too interested”
“I can’t do it” “I will look stupid”
“People will mock me”

10
Environment Open Space

When taking people through a creative process, it is also good to think about It is important that in each creative writing session everyone has the
how the physical space can strengthen the creative outcomes. Furniture such opportunity to share their work with the other participants. This builds
as desks can create physical barriers and reinforce traditional paradigms of confidence and pride in the person who is sharing, and builds empathy,
learning which may influence how much a young person chooses to engage. rapport, and time to reflect, and builds connections with those who are
We strongly suggest moving desks and other physical barriers out of the way listening. These open spaces of sharing need to be constructed carefully as
and sitting in chairs in a circle. This also serves to ensure everyone is on an a negative experience in this part of the process could have a big impact on
equal playing field and breaks down negative power structures. Setting the future engagement.
room out this way also assists in the facilitation of the ice breakers needed to
warm the young people up to the task at hand. It is important that it is a choice to share and not a ‘have to’, and to allow
as much flexibility as possible when it comes to what is being shared. For
When it comes time for writing, the use of music can really help to get the instance, let the participants know that they can share anything they want,
creative juices flowing. When young people work in silence this can often and that this can be something they have written in this session or something
produce feelings of awkwardness or being too exposed, and can result in they have written in a previous class or at home. They can choose to share a
them distracting each other. When music is used effectively as a focusing couple of sentences or a whole page, the power is in their hands. If they have
tool, it can produce great results. written a story, poem or rap, all is okay.

The best way to utilise music is to use it once all the warm up and instruction The focus here is the experience of sharing in front of others rather than
has been given and it is time for them to individually write. You want to play the content. This is often the favourite part of the whole workshop for the
the music at a level which is easily heard and students do not have to strain participants and facilitators alike. It is very important during this stage to
to hear it, but you also do not want it to be too noisy either, as this could maintain group safety. Explain that it takes courage to get up and share, that
become a distraction. The idea is to craft some ‘ambient noise’ as a backdrop this is not an easy thing and those that are listening need to honour this. It
to enhance the creative process, enough so it is definitely present but not is so important that you ensure people are listening and not talking whilst
the focal point. someone is sharing. If someone is mocked or taunted whilst they are sharing,
an intervention must be made immediately.
The selection of music is particularly important. Do not use anything which
has a particularly fast tempo, but is spacious and melodic. You may choose to When encouraging people to speak, we say things like:
use music which speaks into the themes you are focusing on in the session.
We tend to use music from New Zealand artists which encompass the “This is about sharing your story, about your journey and perspective, not
diverse flavour of Aotearoa. about getting something right or perfect. Your words are what is important”

Our favourite albums to use are: “It takes courage to stand up and share, especially when you are the first,
doing anything the first time is a challenge, but once overcome, it is easier
Fat Freddys Drop ‘Based on a True Story’ next time”
Trinity Roots ‘Home, Land and Sea’ or ‘True’
“You may be sitting there wanting to share, don’t let this opportunity pass, it
The possibilities of what music to use are endless; once you start will be gone soon, gone forever”
incorporating this element into the writing exercises, you will get a good feel
of what songs are more appropriate than others. “Albert Wendt, a famous New Zealand author, once said, “We must tell our
stories, otherwise someone will tell it for us”.

11
Workshop Outline

The following is based on a one hour time frame. The length of your
workshops/classes will change but the proportion should remain the same
except for the performance at the beginning.

10 mins – Introduction, Performance, YouTube clip

25 mins – Ice breakers and Warm Up Activities
15 mins – Writing/Task
10 mins – Open Space

Tips Whilst Facilitating

• Positive role modelling and setting the level of enthusiasm is a must

• Be seen to take risks and model stretching your own comfort zones

• Maintain group safety at all times. An environment where people are

mocked is not one where learning can take place

• Be flexible, give permission to bend rules in the activities you lead.

Give a strong direction but make it okay to steer away from
the course

• Share about yourself

• When people say things or answer questions which may not be

what you are looking for but are engaged in the process, do your
best to encourage and not make them feel wrong

• Always affirm participants for engaging

• Try to ask more questions than to give answers

• Always affirm that writing is about sharing your perspective and the
way you see the world. That no one can judge if this is wrong
or right

• Don’t be afraid to own mistakes if you make them, this is a great

opportunity to role model

• Support people to stretch their comfort zones but do not challenge

or confront them directly

12
A TROUBLE SHOOTING
GUIDE FOR SPOKEN WORD

Due to the stage in life young people are at and the way in which expressive Special Note: If the issue is on the topic of suicide, you need to be extra
arts can assist people to access their feelings. Some things can occur during aware with how to deal with this so as not to initiate/promote the idea of
a workshop that as a facilitator is important to be aware of and have some suicide. But don’t ignore it And be sure to check in with the young person
tools to deal with should they occur. after the group regarding harm to self and others. Please Refer to Youthline’s
best practice paper on Postvention (See Appendix 3) for key messages for
It is important to remember, that you certainly do not and should not feel people bereaved by suicide. We have also included a copy of this in your
you need to have the solutions for these issues but a simple knowledge of pack.
what to expect and what to do next is very helpful. Also, be genuine with
your responses. Don’t underestimate the ability of young people to read your
character. A STRONG DISAGREEMENT ON A POINT OF VIEW
OF A TOPIC STARTS A DEBATE OR ARGUMENT
Some of these occurrences can be;
Spoken Word poetry is about entertaining, informing, educating, advocating
and challenging people, issues and ideas in a creative forum. Because of
A STUDENT GETTING EMOTIONAL DUE TO A this the poet can provide a very personal point of view, it can also create
WRITING TOPIC OR SHARING OF A POEM THAT the opportunity for tension. Topics that have a strong social debate such
HAS A CLOSE RELATIONSHIP TO THEM (EG; GRIEF, as, family, abortion, religion, values etc. Frustration or anger is not the only
LOSS, SUICIDE, ABUSE. emotions that the listener can experience but the poet/speaker can feel
isolated in the response also.
Possible Actions: Acknowledge these emotions, but don’t put them in the
spotlight. These workshops are not the safe place to dissect and analyse Possible Actions: Remind the group that we are a diverse mix of people
the emotion, person or the experience. It can be sometimes helpful when not just in this room but universally and we all carry our own life stories,
acknowledging the emotion to link it to a general experience of either experiences and voices that impact how we shape our point of views on
yourself or society in general. Make a note to connect discretely with the many different topics. This is ok. Acknowledge the tension and differences
young person after the workshop/class to see if they want to chat further or in opinion/point of views occurring and encourage them to respond in a
would like more support. One of the unsafe things to do would be to brush creative way using poetry outside of the workshop space.
off or sweep this moment and emotion under the table because you are
uncomfortable with how to deal with the emotion. Remember you don’t As an educator it is important to be aware of own biases/prejudices and take
need to have the solution, just acknowledging can have a profound positive these into account when providing our feedback so that we don’t shut down
effect for the individual and the group. the expression of the young people we are working with.

If there is another facilitator with you and the young person is quite upset, one Also it is important to encourage the poet/speaker to be prepared for their
facilitator can stay with the group and the other can take the young person point of view to be challenged, but that the realms of Spoken Word poetry
outside the room for some fresh area and time to gather themselves. provides a safe creative space to explore these.

Possible Things To Say: Possible Things To Say:

“I can see this has had an impact on you in some way, I am so sorry for that.” “I hear what you are both saying, and it reminds me that we are a diverse
mix of people not just in this room but universally and we all carry our own
“I am sure we can all relate to a time feeling like that, thank you for being life stories, experiences and voices that impact how we shape our point of
brave to share that with us”. views on many different topics. This is ok. An important thing I have learnt is
that we need to speak just as much as we need to listen and it is a powerful
thing to practice respecting each of these for someone else. Thank you both
for sharing your voice.”

13
 ‘This is for those lost and found voices,
Because some don’t have the choice to
voice this…”

- Marina Alefosio

KNOWING ABOUT BOUNDARIES SHARING ABOUT

PERSONAL EXPERIENCES OF THE FACILITATOR
WITH THE STUDENTS

Possible Actions: As much as Spoken Word poetry is about realness

and your true voice, it is important to remember you are the facilitator in
this workshop. You are in the role of a positive leader and have an amazing
opportunity to broaden someones bigger picture or provide a life changing
experience. Keeping this in mind, do not ‘over share’ about your personal
experiences (eg: alcohol and substance use, abuse etc) in order to make a
connection with the group or young person. Sharing to much can take away
from other people’s experience. Self disclosure can of course aid the building
of trust and connection between the educator and the group but should not
be the focus. It is important to think about what things you might share in
order to build trust and connection without necessarily sharing too sensitive
things. Some good examples might be talking about your Whanau/family
Whakapapa, your interest in poetry, hobbies etc

The number one priority of these workshops is not poetry, it is people.

The safety of a young person is paramount and if you feel that there
has been an expression whether verbally or not during your session it is
something you do need to follow up and connect with the professional
sources to manage. Remember you do not have to have the answers, rather
the ability to be aware, support and refer.

14
HOW TO PUT ON A SPOKEN WORD
SHOWCASE WITH YOUNG PEOPLE

A Spoken Word poetry showcase for young people provides a platform to • Music is a good partner for poetry and can be used at the start
share their stories, voices, experiences to an audience full of friends, family, and end of the showcase and also as a ‘interval’ throughout the
peers and the wider community. You will find that you will have people in the show. You may find one of the poets is actually a singer/musician
audience that never would of attended a poetry event if it hadn’t of been for and may appreciate this opportunity
their relationship with one of the young poets performing.
• 1 hour is a good length showcase, anything over one and half hours
Showcases are the perfect goal to have as a celebration point after a poetry will lose impact with both poets and the audience – especially if it is
programme or series of workshops. there first time to a poetry event

While these are awesome avenues for young poets, there are some elements • Remind the young people that even when they are not performing,
that are important to consider in the design and implementation of these the audience is watching them. They need to became part of the
events. audience when not performing, encourage each other and not have
own conversations while others are performing
A few important points to consider when putting a poetry showcase together
that features specifically young people are; • Put alot of thought into the runsheet for the night. Poems need
to sit alongside eachother well. Eg; having a funny poem/poet after
• Prepare the young people in the workshops for varied audience a poem of serious nature has the potential to make the poet feel
reactions. Performing your poetry aloud to a audience of family unsafe/uncomfortable/undervalued and the audience to be confused
members, friends and strangers puts you as the poet in a vulnerable
place. Be prepared that not everyone will agree or like your poem, • Make sure to get permission by the young people to film or take
but it may start conversations that otherwise would not have occurred photos, especially if these will be used for public display/use/publishing

• Choose a MCee that is able to engage with the young people

performing and the audience well. It is more beneficial if they have
an understanding or like of poetry also eg; otherwise they may make
light of a series poem etc. The MCee has the important job of
setting the culture for the evening, warm up the ground that as
audience members of Spoken Word poetry then can respond to the
poet, show love and support, snaps, claps etc

• Provide the opportunity for the young people to name the event,
design the layout and style of the event. However as much as you
want their input you also want to honour they will be performing
(some for the first time) and that is their main focus of energy and
time for the showcase

15
 NEW ZEALAND
CURRICULUM ALIGNMENT

PURPOSE WHAT WILL STUDENTS LEARN? WHAT WILL STUDENTS ACHIEVE?

To provide a creative space where young people are able to make meaning Students will learn: To be able to connect personal experiences in poems.
of themselves and understand their place within their culture, family,
whanau and community. Using these to then create meaning for self A new and dynamic way of expressing themselves. Identify different styles of poetry and poetic devices within oral text.
through the vehicle of spoken word poetry by expressing ideas in creative
How to connect personal experiences with literature through the vehicle To take ideas from thoughts to written word, using simple poetic devices
and original ways.
of spoken word poetry. to speak these ideas through poetry.
This is important because it promotes personal development, exploration
How to actively listen and provide constructive feedback to peers. Present in front of peers confidently.
of identity and a sense of belonging.

How to explore creative and critical thinking, learning and expression, Support others to present spoken words poetry by giving
through engaging with spoken word, reflecting on their experiences and constructive feedback.
place in the world.
To analyse original poetry by identifying performance annotations (eg;
identifying rhythm, tone, tempo within a poem).

Create original poetry and perform poetry using performance annotations.

16
 CURRICULUM

17
Spoken word poetry and facilitated workshops are closely linked with Interfacing with the ‘speaking, writing and presenting’ English curriculum
many aspects of the New Zealand Curriculum. levels 5 - 8 – to ‘create meaning for themselves or others’.

In particular, This unit primarily connects with the speaking, writing and presenting
component of English Levels 5 – 8, to ‘create meaning for themselves or
Vision others’. However, in order for students to most effectively produce their
own spoken word pieces, students will also be required to make meaning of
Confident: Positive in their own identity
a range of exemplars, focusing specifically on ideas, language features and
Connected: Effective users of communication tools
purpose/audience.
Actively Involved: Participants in a range of life contexts
Lifelong Learners: Critical and creative thinkers These workshops link to the overall vision of the curriculum by;

Principles • Exercising creative communication

Cultural Diversity: The curriculum reflects New Zealand’s cultural diversity • Providing a space for all cultures to contribute in dialogues with peers
and values the histories and traditions of all its people.
• Introduce a creative tool that can be used by students for
Values
personal development

Innovation, Inquiry, and Curiosity, by thinking critically, creatively, and

• Practise self confidence to share personal ideas and experiences
reflectively.

• Provide a tool that provides a means to positive experiences of

Respect themselves, others, and human rights.
self identity
Key Competencies
• Practise listening to other point of views and personal
Thinking: Thinking is about using creative, critical, and metacognitive experiences
processes to make sense of information, experiences, and ideas.

Relating to Others: Relating to others is about interacting effectively with a

diverse range of people in a variety of contexts.
 ENGLISH ACHIEVEMENT OBJECTIVES CURRICULUM LEVELS LINKS TO ACHIEVEMENT STANDARDS
Purposes & Audience Level 5 Possible Links:

Recognise, understand and appreciate how spoken word can be used as a Recognising language features in poetry and connecting them with 1.2, 2.2, 3.2 – external – Response to visual/oral text. This is an essay
creative tool to make meaning of the written word. personal experience. Using language to express original ideas. response that students would write in end of year exam. Most teachers
choose to do a film study rather than an oral text. It would be up to the
Construct a spoken word poem that conveys and sustains a personal voice, Level 6 teacher to build in an essay response to an oral text studied as part of the
using appropriate text features. unit.
Building on Level 5 by developing whole, comprehensive poems that link
Ideas more than one idea. Showing an understanding of varying dimensions or 1.6, 2.5, 3.5 – internal – Construct and Deliver an oral text.
viewpoints.
Develop and link thoughtful ideas that demonstrate a specific viewpoint These have traditionally been done as speeches/seminar presentations. This is
through spoken word poetry. Level 7 probably where the unit the best fits or links with the English Achvt Stds.

Language Features Building on Level 6 by communicating sustained ideas on range of topics in 1.4, 2.4, 3.4 – internal – at Level 1 this is produce a single piece of creative
poetry. Creating poetry that show a depth of thought, with the use of oral, writing – at levels 2 & 3, students are required to produce a folio or
Making Meaning; written, and visual language features with control to create meaning. writing. A poem could easily be included within this (although may need to
Understand how written text devices work with oral language skills to be modified a bit from a specifically oral text to a written one?)
create meaning and effect. Level 8
1.8, 2.7, 3.7 – internal – Make significant connections. Students read
Creating Meaning; Building on Level 7 with poetry that conveys insightful ideas that command and make links between min 4 texts that are connected through theme/
Develop and combine oral, written and visual language features to create attention. Poetry that clearly expresses perception, depth of thought and language/purpose/ideas etc. Only one text has to be self-selected by the
meaning and effect through spoken word poetry. awareness on topics and dimensions. Oral, written and visual language student so can include texts studied in class. They compare & contrast the
features are sustained coherently throughout poetry. 4 texts in a report. Teachers could quite easily find a spoken word poem to
Structure
study with their class that links to a broader theme they might be studying
(identity/conflict/alienation etc)
Develop skills to take an idea and structure it effectively for performance

1.3, 2.3, 3.3 – external – Respond to unfamiliar text. End of year exam –
students are given unfamiliar written texts and have to identify techniques
& discuss purpose & effect. The close reading of exemplars and teaching of
poetic devices during spoken word unit has obvious links to this.

18
 FACILITATED SHARED LEARNING OPPORTUNITIES

19
Making connections to prior learning and experience
The workshops provide the opportunity for;
Students learn best when they are able to integrate new learning with what they already understand. When
• Students to create and make meaning of poetry through their own personal experiences
teachers deliberately build on what their students know and have experienced, they maximise the use of learning
time, anticipate students’ learning needs, and avoid unnecessary duplication of content. Teachers can help
• Students to exercise a shared learning, listening and creating space
students to make connections across learning areas as well as to home practices and the wider world.)

Creating a supportive learning environment • Students build on the momentum, topics, discussions and direction of the workshops, with the facilitator
guiding this shared learning/teaching process
Learning is inseparable from its social and cultural context. Students learn best when they feel accepted, when
they enjoy positive relationships with their fellow students and teachers, and when they are able to be active, • Students will experience the reflective process of writing a poem, critiquing their own and peers poems,
visible members of the learning community. Effective teachers foster positive relationships within environments revising, reediting, performing their own poetry
that are caring, inclusive, non-discriminatory, and cohesive. They also build good relationships with the wider
school community, working with parents and caregivers as key partners who have unique knowledge of their • In performing their poetry they are contributing and/or initiating dialogue on topics that they otherwise
children and countless opportunities to advance their children’s learning. Effective teachers attend to the cultural would not engage with effectively in other forums/forms of expression. They learn effective
and linguistic diversity of all their students. The classroom culture exists within and alongside many other cultures, communication through a creative vehicle
including the cultures of the wider school and the local community, the students’ peer culture, and the teacher’s
professional culture.

Encouraging reflective thought and action

Students learn most effectively when they develop the ability to stand back from the information or ideas that
they have engaged with and think about these objectively. Reflective learners assimilate new learning, relate it
to what they already know, adapt it for their own purposes, and translate thought into action. Over time, they
develop their creativity, their ability to think critically about information and ideas, and their metacognitive ability
(that is, their ability to think about their own thinking). Teachers encourage such thinking when they design tasks
and opportunities that require students to critically evaluate the material they use and consider the purposes for
which it was originally created.

Enhancing the relevance of new learning

Students learn most effectively when they understand what they are learning, why they are learning it, and how
they will be able to use their new learning. Effective teachers stimulate the curiosity of their students, require
them to search for relevant information and ideas, and challenge them to use or apply what they discover in new
contexts or in new ways. They look for opportunities to involve students directly in decisions relating to their own
learning. This encourages them to see what they are doing as relevant and to take greater ownership of their own
learning.
EXAMPLES OF SPOKEN
WORD ACTIVITIES

“You will not define me, I will

define me and I won’t resign
until my words ring and bare
true, And that is the one thing
that scares you.”

– Mohamed Hassan

20
5 SENSES
USING THE 5 (OR 6) SENSES, STUDENTS WRITE ABOUT A
BROAD TOPIC FROM PERSONAL EXPERIENCE.

AIMS Students use their own experience of life through their senses to write about broad and
general topics.

RESOURCES Word List (in activity plan)

Pens
Large paper (A3)
Whiteboard/markers

SUCCESS CRITERIA Students can write about their experiences and senses creatively
Students can use personal experience to connect to a broad topic
Students can contribute ideas to the group, and accept other’s ideas about personal experiences

ACTIVITY PLAN i. Using your 5 senses, as a group brainstorm on a whiteboard “Where I’m from” (or similar
broad topic). Put as many ideas on the board as possible under sight, sound, touch, taste,
smell (even sixth sense could be used).

ii. Once complete, individually everyone is to select at least 5 words or phrases on the
board; they don’t have to be your own, and can be positive or negative. Now using the
phrase “Where I’m From….” use these 5+ words/phrases to describe where you are from.

iii. Get everyone to write down this list of words or phrases that describes where they are
‘from’. This list can become a poem on its own, rearranged into another format, or used as
prompters for another poem altogether.

iv. Invite students to share their writing, either listing their ‘where I’m from’ words or phrases
or speaking out their poem as a piece.

TEACHING POINTS i. Remind them that where you are from, doesn’t need to necessarily be a physical place,
it can be more abstract ideas like a moment in time, it can be your mother’s arms, your
fathers smile etc.

ii. Discuss how a simple list can be turned into a poetic piece through performance,
intonation, expression etc.

21
A LIST POEM
WRITING A LIST POEM OF WHAT STUDENTS WILL ACHIEVE BY THE
TIME THEY ARE 25

AIMS Students can turn their dreams and aspirations into a poem

RESOURCES Whiteboard
Pens
Books

SUCCESS CRITERIA Students can write about their experiences and senses creatively
Students can use metaphor and simile to describe their dreams
Students can use different ways of describing their goals and aspirations

ACTIVITY PLAN i. Get students to write in a brainstorm cloud all their dreams, aspirations, etc

ii. Set out the difference in achievements, material possessions, goals, careers, friends,
relationships, family, changing the world, etc

iii. Get students to write a list poem, with each sentence/line starting with “What I will do by
the time I am twenty-five is...”.

iv. Invite students to read theirs out to the class

TEACHING i. Give a set amount of time (eg; 10mins) to complete poem, after brainstorm time

ii. Encourage students to be specific about what they will achieve

iii. Get students to use metaphor/simile to describe their actions, or the effect of their
achievements

22
EXPRESSING
EMOTION
WRITING A LIST POEM OF WHAT STUDENTS WILL ACHIEVE BY THE
TIME THEY ARE 25

AIMS Students learn about different ways of expressing emotion

RESOURCES Emotion ideas (if students stuck)

SUCCESS CRITERIA Students can use different ways of describing and expression different emotions

ACTIVITY PLAN i. Standing in a circle, get everyone to take turns stepping forward and stating an emotion
they want the group to physically/verbally embody

ii. Everyone answers the call by showing a gesture or action with/without sound to embody
that emotion.

iii. Ask them to take notice of how each other has expressed the emotion

iv. You can have a group discussion after each of these; you may find a story behind this
gesture being used. This encourages people to think about how one emotion
can be expressed in varied ways

TEACHING POINTS i. Discuss ‘perspective’ as a class and the ability to see the world in different ways

ii. Take an emotion where there seems to be wildly different ways of expression, and use this
to inform poetry writing

23
I AM AN ISLAND
STUDENTS RELATE PEOPLE TO INANIMATE OBJECTS THROUGH
METAPHOR AND SIMILE.

AIMS Students use recollections of people in their life and describe them through creative means

RESOURCES Books
Pens
Venn diagram worksheets

SUCCESS CRITERIA Students can write about their experiences and senses creatively
Students can use personal experience to connect to a specific object
Students can use metaphor and simile to relate a living person to an inanimate object
Students can use different ways of describing people and their actions/personalities, etc

ACTIVITY PLAN i. Get students to choose a non-living object that symbolises one of their parents/
grandparent/aunty/uncle or an adult you admire (rock, pounamu, the sea, clouds, swiss
army knife).

ii. Get students to make a list of the characteristics of this object (e.g. hard, shiny, warm to
the touch, etc)

iii. Get students to utilise the parts or facets of the object, or its properties, to symbolise
this person by describing the person and the object in the same way using the
same language

iv. Free write about a memory, conversation or rumour about that adult that changed your
direction in life utilising this language

TEACHING POINTS i. Get students to choose an object that has unique or special characteristics

ii. Use metaphor and simile to link the memory/conversation and rumour to this object

iii. Students can describe both the object and person separately, and see where there is
crossover - using a Venn diagram or similar

24
LOVE IS
LIKE...
REWRITE COMMON SAYINGS TO MAKE NEW WAYS OF DESCRIBING
LIFE EXPERIENCES

AIMS Students rewrite common and clichéd sayings to make them fresh and different

RESOURCES Whiteboard
Pens

SUCCESS CRITERIA Students can write about their experiences and senses creatively
Students can use personal experience to connect to a specific object
Students can use metaphor and simile to rewrite a common saying
Students can use different ways of describing people and their actions/personalities, etc

ACTIVITY PLAN i. Take a common metaphor (eg: Love is like a red red rose) write this on the board.

ii. Ask everyone to share what comes to their mind in one or two words when they see/read/
hear the word “Love”, “red” and “rose”.

iii. Under each of these words on the board write down their words they associate with these
three words. Now using these ‘new words’ write individually a list of 3 different similes/
metaphors to describe love (love is like..../love is....)

iv. Invite students to read out their ‘new and improved’ metaphor/simile

v. Extension – get students to freewrite a short piece around the use of the new and
improved metaphor/simile

TEACHING POINTS i. Start off with a list of common metaphors and similes – get students to discuss which
ones work for them and which ones don’t

ii. Make a list of ones that could be improved and decide on one or more that should be
changed first

iii. Discuss as a group how these sayings come into popularity (repetition, famous poems/
writing, imagery, imagination

iv. Get students to use these in context

25
PAST, PRESENT, STUDENTS USE MEMORY, SENSES AND IMAGINATION/FUTURE
PROJECTION TO CREATE IDEAS AND POETRY. THIS IS A FREE
WRITE EXERCISE THAT ENCOURAGES YOUNG PEOPLE TO ACCESS
FUTURE EXPERIENCES IN THEIR OWN LIVES TO INFORM FUTURE WRITING.

AIMS Students have a draft of a ‘past, present future’ poem that connects their past with what is happening
now, with an eye on the future.

RESOURCES Word List (in activity plan)

Pens
Large paper (A3)
Stereo/music

SUCCESS CRITERIA Students can write about their experiences creatively

Students can connect their past, present and future experiences through writing, with the aim of
turning it into poetry

ACTIVITY PLAN i. Everyone to find a comfortable place to sit in the space individually.
ii. Instruct them they will be writing in three phases (past, present, future), that you will
indicate when they are to move to the next phase. Each phase can be 5-8
mins in length each, keeping in mind to allow time for them to warm up to the exercise,
therefore writing on the first part (past) can take bit longer than others.
iii. During the three phases, the facilitator will prompt students with words to give ideas to
those who may be stuck. Play some music along to fill the silence and encourage creative
thinking.

• Past – Neighbourhood, childhood houses, Primary school, Teachers, Cartoons, TV Shows,

Good times, Stink times, favourite or worst foods, what were your dreams, who were your
heroes, favourite music, songs, friends, family, traditions, special occasions

• Present – What does your life look like now, what does it feel like, what takes up most of your
time, what do you enjoy doing now, what are your challenges, what excites you, what makes
you feel stink

• Future – Where do you see yourself, what are your aspirations, your dreams, if money wasn’t
an issue what would you be doing, who would you be? Where would you live, what would be
important to you, what do you hope for

• Reflections – What advice would you give to your children, what have you learnt about life,
what would your future self tell your present self, what were the turning points or moments of
change, when do you need courage, what do you need to hear from others (This can be used
as an extension activity)

TEACHING POINTS
i. The Tidy Up. Students have time to tidy up their writing, turning the ideas into something
usable. Meshing poems together, using devices, using rhyme or not, putting into a story.
Keeping what you want, discarding what you don’t. Emphasising your favourite parts.
ii. End with an open floor, people don’t have to share all their writing, just one stage if they like.
iii. Encourage them to think about people, places, experiences, their 5 senses etc.
iv. Make the transitions from each stage as easy and uninterrupted as possible; a change in
music can help this also.
v. Emphasise there is no need to worry about grammar, spelling, poetry techniques – this is
about them being honest with themselves.

26
WHATS MY
NAME?
THIS IS A FUN EXCERCISE THAT ENCOURAGES STUDENTS TO SHARE
THEIR WORK AND PRACTICE DESCRIPTIVE WRITING SKILLS.

AIMS Students can use their current environment to create a descriptive poem while engaging with each
other and sharing.

RESOURCES Pen, paper

SUCCESS CRITERIA Students can use observational skills to create a poem.

Students gain a clear grasp of the concepts of personification.

Students engage with each other by sharing their work and listening to their peers.

ACTIVITY PLAN i. Ask students to pick an object in the room. It must be something that everyone else
can see.

ii. Ask students to write about the object using as much detail as possible, they can refer
to the 5 senses. Encourage them to write from the objects perspective. What they write
does need to be in the form of a poem, it can be any style that they choose. The only rule is
that they cannot name what their object is.

EXAMPLE: 'I am tired of everyone always sitting on me! It’s so rude, my legs are
strong though, and I can stand up to anyone.’ (Chair)

iii. Give the room 5-7 minutes to write their piece.

iv. Once finished, students will share their work and the class will try and guess what thet
wrote about.

TEACHING POINTS i. Discuss personification and the importance of perspective.

ii. Encourage students to share, making sure to applaud or give praise to students that
volunteer.

27
IDENTITY THIS IS A SIMPLE EXERCISE THAT INTRODUCES STUDENTS TO
WRITING ABOUT THEIR OWN HISTORY AND EXPERIENCE IN
POSITIVE WAYS.

AIMS Students write a short, list poem about their own identity and experience.

RESOURCES Whiteboard, pens, paper.

SUCCESS CRITERIA Students walk away from the class with a short “I am” poem.

Students gain an understanding of metaphor and simile.

Students get comfortable with writing about themselves.

ACTIVITY PLAN i. Modelling this activity on a whiteboard for the class, ask the students to draw a vertical line
down the centre of their page, creating two columns.

ii. In the header for the left column ask them to write the words I AM, then make a list of
things that apply. Culture, tastes, style, anything that is unique to them as individuals. 5
Min.

iii. In the header of the right column, ask them to write the words I AM FROM, then make a list
of things that apply. Neighbourhood, city, culture, family, anything that is unique to their
environment or surroundings. 5 min

iv. Once word lists are completed, ask them to circle 1 that sticks out to them, It could be
from either column. This is their opening prompt. Ask the poets to then create a
poem, using as many items from the lists as they can.

a. ADVANCED: Ask the poets to switch the prompt and the item.

i. Example: If the students I AM list reads “I am brave, I am Hip Hop”, switch the opening
prompt to I AM FROM, so that the new lines read as “I am from Brave, I am from Hip-Hop”.
This technique creates an instant metaphor and show new perspectives.

i. Some items will repeat on both lists, this is okay. Just encourage them to be original.
TEACHING POINTS
ii. Specifics are important, the more specific and unique the item the richer the detail of their
poem. Instead of “music” what kind of music, what specific artists, is their an album or song
that they like, etc..

iii. Model the poem for them on the whiteboard, or at least part of it. If you allow yourself to
open up they will too.

iv. Emphasize that they don’t have to be serious or talk about things they don’t want to. That
these poems can be funny or silly as well.

v. Emphasise that ther eis no reason to worry about grammar, spelling, poetry technique- this
is about them being honest and letting go.

28
ANIMALS THIS IS AN EASY AND SHORT EXERCISE THAT CAN BE USED TO
FIND METAPHOR AND IMAGERY IN THE ORDINARY.

AIMS To give students a tool for creating metaphor and making their work more “poetic” in a simple way.

RESOURCES Whiteboard, pens, paper.

SUCCESS CRITERIA Students walk away with a better understanding of metaphor.

Students gain confidence as writers.

Students learn a new technique that they utilize in future work.

ACTIVITY PLAN i. Modelling the activity on a whiteboard, ask the students to draw two vertical lines down
there page, creating 3 columns.

ii. In the far left column ask them to make a list nouns down the page.

iii. In the middle column ask the students to name the first animal that pops into their heads
when they think of that noun. They can be as weird as they want, the first reaction is best.

iv. Then in the far right column, ask the students to write down 3 verbs, or actions that
describe that animal. Lions – roar, pounce, hunt. Horse – neigh, gallop, snort.

a. EXAMPLE:
NOUNS ANIMALS VERBS
Table Cow Grazes, chews,
lumbers
Chandellier Bat Hangs, hisses,
flaps

v. Once they have filled out the last column, ask them to erase the centre column,that
contains the animals and apply the verb to Noun creating imagery. Example from the table
above : “The table lumbered in the centre of the room.” Or “The chandelier flapped above
our heads.”

TEACHING POINTS i. This exercise can used to generate ideas for a new poem, or to add to an existing piece by
selecting nouns from that poem..

ii. Encourage students that there is no wrong answer and to pick the first animal that pops into
their heads.

iii. Playing a Word association game at the beginning of the lesson can help warm them up.

29
30
IMAGES
EXCERCISE

AIMS To use the images as visual prompts to inspire students to write.

RESOURCES Books
Pens
Print outs of provocative images (we have included some examples)

SUCCESS CRITERIA Students engage with writing from more of a visual perspective.

Students are aided in their writing process through the use of images.

Students can use the image to draw out various poetic devices, such as personification, metaphor, simile
etc.

ACTIVITY PLAN Start by getting multiply copies of both the bold and ordinary images.

Spread the images around the floor space.

Ask the students to select an image that stands out to them.

Once they have selected their image ask them to get into pairs and discuss the images they’ve selected.
Some questions to help prompt discussion in their pairs are:

• What does the image mean to you?

• What does it make you feel?

• Does it remind you of a time or situation in your life, or something you’ve witnessed?

Allow a couple of minutes for them to discuss the images. Hopefully this will help generate more ideas for
them to write as they verbally brainstorm the different things that come up for them.

Get students to find their own uninterrupted space to write. Allow 10 – 15mins for this exercise.

EXTNEDED Print out the 9 bold images and the 9 ordinary images.

Spread the images around the floor space.

Ask the students to select one ordinary image and one bold image that stand out to them.

Once they have selected their images ask them to get into pairs and discuss the images they’ve selected.
Get them to pair the images together and write a response about how the two images clash/compliment/
speak to each other.

31
 Allow a couple of minutes for them to discuss the images. Hopefully this will help generate more ideas for
them to write as they verbally brainstorm the different things that come up for them.

Get students to find their own uninterrupted space to write. Allow 10 – 15mins for this exercise.

*There are some examples of images attached but feel free to print your own (eg. You may choose the
images to reflect a particular topic).

TEACHING POINTS • Get students to choose an object that has unique or special characteristics

• Use metaphor and simile to link the memory/conversation and rumour to this object

• Students may want to use their partners image if it is something they are more warmed
up to doing.

BOLD IMAGES

ORDINARY IMAGES

32
APPENDIX 1: SPOKEN WORD
POETRY LINKS: NEW ZEALAND

WTFL 2016, Auckland Girls Grammar, Caryn WTFL 2016, Aorere College, Fili & Emeline

https://www.youtube.com/watch?v=0GfTB0A8ZLk https://www.youtube.com/watch?v=d6QuSHWjdAU

Theme: Love and Longing. Theme: School Stress.

Description: This poem usues humor and simile to Description: This poem discusses the pressure and
describe the highs and lows of teenage infatuation stress that young people face while trying to meet
and love. the acadmeic standards imposed by society and
family.
Points of Interest: - Epistle. - Humour as literary
deivce. - Love Poetry. - Odes. Points of Interest: - Duet Poem. - Youth voice.
- Stress. - Societal Pressure. - Family. - Test Scores. -
Over achieving. - Team Piece.

WTFL 2016, Aorere College, Kalolaine & Viliami WTFL 2016, Selwyn College, Tamrin & Kate

https://www.youtube.com/watch?v=WhAZQZKSI4w https://www.youtube.com/watch?v=MFUwQTAbrCE

Theme: Fathers. Theme: Disappointment.

Description: This poem discusses the roles of Description: This poem uses a creative
fatherhood in our lives and performance technique to discuss the topic of
disappointment.
Points of Interest: - Family. - Fatherhood. - Absentee
parents. - Whakapapa. - Modern Family life.- Team Points of Interest: - Disappointment. -
Piece. Personification. - Creative performance techniques.
- Team Piece. - Extended Metaphor. - List poem
- Anxiety.

33
WTFL 2016, McAuley High School, Faga & Paulina WTFL 2016, Lynfield College, Kannann & Aleece

https://www.youtube.com/watch?v=9TH70vF4pUI https://www.youtube.com/watch?v=KduU92hYgvQ

Theme: Slam Scores. Theme: If the internet was a person.

Description: This poem calls out the hypocrisy Description: This pome talks about howsocial
of the slam community, using the venue as a media defines us as peo[ple in the modern world,
metaphor for self love. waterign down our emptahy and humanity.

Points of interest: - Poem about poetry. - Healing Points of interest: -Team Piece. - Hashtag activism.
through art. - Slam Poetry. - Allegory. - Being critical - Social Media - Humour - Syria. - Terrorism. -
of your community. - Team piece. Hacktivism. - Social issues. - War.

WTFL 2016, Lynfield College, Elena & Bridget WTFL 2016, Glenfield, Aleisha, Ara, Denesse, Jade

https://www.youtube.com/watch?v=lw1sIWW3_5s https://www.youtube.com/watch?v=EGqfwu5GjJw

Theme: Multi-Culturalism in Auckland. Theme: Anxiety and Womanhood.

Description: This poem discusses the changing face Description: Using a ccretaive papproach in it’s
of Auckland as a multi-cultural 21st century city. performance, this poem talks about the pressures
and anxiety facing many high school aged women
Points of Interest: - Team Piece. - Racism. - Multi- in NZ.
Culturalism. - Immigration. - Auckland. - Diversity.
Points of Interest: - Anxiety. – High School. –
Societal pressures. – Gender Roles. Team Piece.

34
WTFL 2016, McAuley High School, Natalya & Katrian WTFL 2016, M.A.G.S, Harshita & Vaibhav

https://www.youtube.com/watch?v=E1P6B1mOtbI https://www.youtube.com/watch?v=-ZMcb7IwONM

Theme: Cultural Identity. Theme: Mother Nature

Des cription: In this poem, the authors discuss Description: Through personification and clever
their struggle with cultural identity and the pride imagery this poem discusses global warming and
that comes form standinh up for yourself. the human impact on the environment.

Points of Interest: - Team Piece. – Culutral Identity. Points of Interest: - Team Piece. - Personification.
– Tongan Culture – Language. - Global Warming. - Environmentalism. - Mother
Nature.

WTFL 2016, M.A.G.S, Shannon & Abby WTFL2016, McAuley High School, Mele

https://www.youtube.com/watch?v=8ADkEhUN_IQ
https://www.youtube.com/watch?v=UdqPDoFC9hQ

Theme: Homelessness.
Theme: The voice of doubt.
Description: The story of a homeless that the
Description: This poem discusses anxiety, doubt author met.
and self self worth via the power of performance
and humour. Points of Interest: - Homelessnes. - Housing Crisis -
Auckland. - Goodwill.
Points of Interest: - Team Piece. - Anxiety. - High
School like. Doubt. - Fitting in. - Depression.

WTFL 2016, Marist College, Tiara & Pearl WTFL 2016, Selwyn College, Tamrin, Keir, Laura, Zheiyn

https://www.youtube.com/watch?v=mEnKJ2JwUr0 https://www.youtube.com/watch?v=H5xIEK43xBw

Theme: Mental Health. Identity. Theme: Poetry is important.

Description: This poem delves deep into mental Description: How do we speak up for ourselves
health issues that face many young people of color. wothout art? This piece discusses the necessoty of
poetry and defends it against the critics.
Points of Interest: - Black Girl. - Mental Health -
Suicide. - Team Piece. Points of Interest:- Poems about poetry.- Support the
arts.- Speaking up for yourself.- Critical thought.- Team
Piece.

35
WTFL 2016, Lynfield College, Final, Melissa and Irene WTFL 2016, Glenfield, Denesse

https://www.youtube.com/watch?v=EKfPFQm6edk https://www.youtube.com/watch?v=eGLdZb7j4L4

Theme: Rape Culture. Theme: Identity.

Description: Two young women speak out on the Description: Both humorous and heartbreaking,
effecvts that rape culture has had on their lives. this poet talks about her identity and place as a
Filipino growing up in Aotearoa.
Points of Interest: - Women. - Rape Culture. - Team
Piece.- Feminism. Points of Interest: -*STRONG LANGUAGE - Identity. -
Family. - Immigrants expeirence. - Philipines.

WTFL 2016, Glenfield College, Aleisha, Ara Mae, Denesse, Jade WTFL 2016, De La Salle College, Dillon & Lance

https://www.youtube.com/watch?v=GDtv4cVoakI www.youtube.com/watch?v=SL6vz-qOkTQ

Theme: Women’s Issues. https://www.youtube.com/

watch?v=GHZ5L22vgGQ
Description: Four women explore the
confoinements of gender roles by personifying a Theme: Culture.
patriarchal robot.
Description: Two young men talk about their
Points of Interest: - Women’s issues. - Gender culture and the struggles that they and their
Roles. - Feminism. - Team Piece. families have faced in New Zealand.

Points of Interest: - Culture. - Stereotypes - Team

Piece. - Immigrants. - Social Issues.

WTFL 2016, Marist College, Jennifer, Finals WTFL 2016, Marist College, Jennifer & Amy

https://www.youtube.com/watch?v=ScdF6KbzlZg https://www.youtube.com/watch?v=8-JHuR1iA-k

Theme: Self Love. Theme: Apathy.

Description: While fealing with a break up and Description: Two poets discuss apathy and
young poet discusses self love and survival. facebook hacktivism in the digital age.

Points of Interest: - Self Love. - Break up Poems. - Points of Interest: - hactivism. - Apathy. - Racism. -
Depression. Privilege. - Team Piece.

36
WTFL 2016, Selwyn College, Round 2, Tamrin & Keir WTFL 2016, Selwyn College, Tamrin, Keir, Laura, Kate, Zheiyna

https://www.youtube.com/watch?v=JFHmWbAavjg https://www.youtube.com/watch?v=JFHmWbAavjg

Theme: Society. Theme: The real New Zealand.

Description: This poem discusses societies Description: This poem is a love letter to Aotearoa,
obsession with doing the worng thing and how an honest ode that is both loving and deeply
caring is actually the coolest thing. critical.

Points of Interest: - Team Piece. - Alcoholism. - Party Points of Interest: - NZ – Aotearoa. – Odes. –
Culture. - Fallen heroes. - Self respect. National indentity. – Team Piece.

WTFL 2016, De La Salle College, Round 2, Jeremiah WTFL 2016, Selwyn College, Round 3, Laura, Kate, Zheiyna

https://www.youtube.com/watch?v=tk707bgI7pI https://www.youtube.com/watch?v=XjMeFg22v94

Theme: Identity. Theme: Words.

Description: A young poet talks about his Description: Words have meaning, but what value
neigborhood and his place in it. do we actually place on them? What if we actually
had to pay for each one?
Points of Interest: - Identity – South Auckland. –
John Key. – Systematic Racism. Points of Interest: - Words. - The importance of
langauge. - Team Piece.

WTFL 2016, Glenfield, Round 3, Aleisha WTFL 2016, Diocesan School for Girls,

https://www.youtube.com/watch?v=j1eTZmSWbcY https://www.youtube.com/watch?v=IRkNV_B0cOw

Theme: High School Anxiety. Theme: Love.

Description: A young poet talks about the trials Description: Using humour and heart five young poets
and challenges of being a teenager struggling with talk about love, learning tha fantasy is often better
anxiety. than real life.

Points of Interest: -High School. - Anxiety. - Inner Points of Interest:- Team piece.- Love poetry. –
dialogue. - Womens Issues. Humour.

37
WTFL 2016, Diocesan School for Girls, Ashleigh WTFL 2016, Aorere College, Round 1, Kiani

https://www.youtube.com/watch?v=2gdWWoJefAo https://www.youtube.com/watch?v=4nAFIP79pD8

Theme: Anxiety. Theme: Survival

Des cription: Finding hope and strength while Description: A young poet talks about the his fear
battling anxiety and depression in a world that of being forgotten and what it means to grow
deosn’t always understand. older.

Points of Interest: - Anxiety. – Mental Health. – Points of Interest: - Self reflection. - Being
Hope. remembered. - Forgiveness.

WTFL 2016, Diocesan School for Girls WTFL 2016, Mount Albert Grammar, Joseph

https://www.youtube.com/watch?v=ch26vSC88EU https://www.youtube.com/watch?v=FHnufL9OgcE

Theme: The future. Theme: Living life to it’s fullest.

Description: Two young poets write an open letter Description: A young poet uses the life of the
to future generations. Mayfly as a metaphor for how to live life to it’s
fullest.
Points of interest: - Open Letter. - Epistle. - The
children - Team Piece. Points of Interest: - Hope. - Extended Metaphor. -
Science. - Success. - Achievment.

WTFL 2016, Mount Albert Grammar WTFL 2016, McAuley High School, Faga and Paulia

https://www.youtube.com/watch?v=XffDoA0yy5A https://www.youtube.com/watch?v=g4ckbQZZCPc

Theme: Religion Theme: Polynesian Pride

Description: Four young poets discuss the complex Description: Two uoung poets speak the the pride and
topic of religion. trials of growing up as the children of immigrants in NZ.

Points of Interest: - Team Piece. - Religion. - Points of Interest:- Culture.- Dance.- Polynesia.- Team
Spirituality. - God. Piece.- Immigrants.

38
WTFL Semi Final Heats 2015 - Green Bay High School Word Semi Finals Heats- Mt Albert Grammar School

https://www.youtube.com/watch?v=GWQOMvWgGE0 https://www.youtube.com/watch?v=l5Y1ooMroYE

Theme: Vegetarianism Theme: Inspiration.

Description: Six young vegetarians defend their choice Description: If you knew the world was ending,
in this hilarious and poignant poem. what would you do?

Points of Interest:- Vegetarianism.- Humour- Personal Points of Interest: - ADULT LANGUAGE - Inspiration. -
Choice Team Piece. - End of the world.

WTFL, Semi-final Heats - Selwyn College WTFL Semi Final Heats - Rangitoto College

https://www.youtube.com/watch?v=ERIda27-JC0&t=67s https://www.youtube.com/watch?v=PZJwjf9KGEg

Theme: Identity. Theme: Language and culture.

Description: A young poet struggles to reconnect Description: Two children of immigrants discuss
with his culture. language and how it creates identity.

Points of Interest: - Identity. - Lost culture. - Maori. Points of Interest: - Language. - Immigrant
experience. - Culture. - Team Piece.

WTFL Semi-Final Heats - Papatoetoe High School WTFL Grand Slam 2015, Selwyn College

https://www.youtube.com/watch?v=YAMhWqWZTKk
https://www.youtube.com/watch?v=mRF5nZ_4-KQ
Theme: Gender Roles.
Theme: Auckland.
Description: A gamer breaks down sexism in nerd
culture. Description: From housing crisis to History, this
poem takes an honest and humorous look at the
Points of Interest:- Gender roles.- Girl gamers.- Sexism.- City of Sails.
Video Games.- Sexism.
Points of Interest: - Auckland. - Team PIece - Jaffas. -
Housing Crisis. - Gentrification.

39
WTFL, Grand Slam 2015, Selwyn College WTFL, Grand Slam 2015, Glenfield College

https://www.youtube.com/watch?v=ODViEqNAUEs
https://www.youtube.com/watch?v=7Q0rIcfYsUY

Theme: Mental Anguish

Theme: Domestic Abuse.
Description: An intimate poem about anxiety and
Description: Using dark imagery and statistics two self abuse while hiding your identity.
young poets rally against the issue of domestic
abuse in Aotearoa. Points of Interest: - Anxiety - Living in fear. -
Confessional Poetry.
Points of Interest: - Team Piece. - Domestic Abuse. -
Family Violence. - New Zealand.

WTFLGrand Slam 2015, Lynfield College WTFL Grand Slam 2015, Glenfield College

https://www.youtube.com/watch?v=zOuEfre_aJc
https://www.youtube.com/watch?v=Js5IlKr3BzM

Theme: Stereotypes.
Theme: Religion.

Description: Four young poets discuss the

stereotypes society has of them, then break them
Description: Four young poets explore religion.
apart.

Points of Interest: - Stereotypes. - Team Piece. -

Points of Interest: - Religion. - Team Piece. -
Oppression.
Prejudice.

WTFL Grand Slam 2015, McAuley High School WTFL Grand Slam 2015, Lynfield College

https://www.youtube.com/watch?v=4CwqVcgKHrw https://www.youtube.com/watch?v=RN5oLYqBWzI

Theme: Racism Theme: Racial Profiling

Description: This poem makes an emotional plea Description: Two young poets talk about the effect
against violence caused by systematic racism. of racial profiling and discrimination upon young
minds.
Points of Interest: - Gun violence. - Racism. -
Oppression. - Imagery. Points of Interest: - Racial profiling. - Team Piece. -
Discrimination - Terrorism.

40
WTFL Grand Slam 2015, Mt Albert Grammar WTFL Grand Slam 2015, McAuley High School

https://www.youtube.com/watch?v=SP0u0ltaSVM https://www.youtube.com/watch?v=5QhOZtMGS2s

Theme: Academic Achievement Theme: Body Image.

Description: A high school student exposes the stress Description: Through strong imagery and metaphor
and anxiety that comes with trying succeed as a and young woman talks about coming of age and
student today. body image.

Points of Interest:- Education- Anxiety.- High School. Points of Interest: - Body Image . - Women’s Issues.
- Sexuality.

WTFL Grand Slam 2015, Papatoetoe High School WTFL Grand Slam 2015, Papatoetoe High School

https://www.youtube.com/watch?v=jRSKRCq4-d4 https://www.youtube.com/watch?v=AYTv5X35tlI&t=132s

Theme: Objectification Theme: Body Image.

Description: A young woman talks about how her Description: Two poets confront societies
body and the taboos placed upon it by others. judgements about their body image.

Points of Interest: - Objectification. - Gender Norms Points of Interest: - Team Piece. - Body Image. -
- Body shaming. - Women’s Issues Women’s issues. - Body Shaming.

WTFL Grand Slam 2015 Papatoetoe High School WTFL Grand Slam 2015, Glenfield College

https://www.youtube.com/watch?v=Ynhx5IXbxHA&t=3s
https://www.youtube.com/watch?v=jeu2dssd9Yk

Theme: Home.
Theme: LGBTQI Issues.
Description: A young MC talks about his love for the
nieghborhood he grew up in. Description: Through both humour and tragedy
and young queer woman answers the question:
Points of Interest:- Wordplay. – South Auckland. – Puns. “Are you sure you are gay?”
– MC skills.
Points of Interest:- ADULT LANGUAGE. - LGBTQI
Issues – Team Piece. – Humor.

41
WTFL Grand Slam 2015, Lynfield College WTFL Grand Slam 2015, MAGS

https://www.youtube.com/watch?v=cloMxSWcw5w
https://www.youtube.com/watch?v=XEzlA3aMgjY

Theme: Panic
Theme: Language

Description: Two poets pen an open letter to panic

Description: A young poet writes a poem about her
and Adrenaline, airing their grievances.
immigrant mother and the struggles and triumphs
of language.
Points of Interest: -Team Piece. – Personification. –
Open Letter. – Fight or Flight.
Points of Interest: - Language. - Ode. - Accents - The
immigrants story. - Indian Culture.

WTFL Grand Slam 2015 - Sheldon Rua WTFL Grand Slam 2015 - Westlake Boys High School

https://www.youtube.com/watch?v=kh8d8iqPJ9w&t=54s
https://www.youtube.com/watch?v=KiNKex7grC8

Theme: Bruce Lee.

Theme: Faith/Religion

Description: An ode to Bruce Lee and what it

means to stand up for yourself.
Description: A young poet talks to God about his
faith, his struggles and his survival.
Points of Interest: - Ode. - Heroes. - Team Piece. -
Asian Culture. - Colonization.

Points of Interest: - Epistle. – Faith. – God. – Prayer.

– Open Letter.

WTFL 2015 Grand Slam, McAuley High School

https://www.youtube.com/watch?v=4Jl5Bbn4Ggc

Theme: Family.

Description: A tale of two young sisters growing up

in a house with many secrets.

Points of Interest: - Team Piece. - Poems that tell

stories. - Humour. - Family. - Abuse.

42
Raneem Caco “Puzzled Life” Tyrone Tokorangi “Turkish Delight”

https://www.youtube.com/watch?v=IKogzU7s2qA https://www.youtube.com/watch?v=zXdFAV_cYBg

Theme: The Rubik’s Cube. *Adult Language

Description: A humorous poem that uses the Rubik’s Theme: Romantic Relationships
Cube as
Description: A comedic poem about the
a metaphor for how to solve the challenges that life frustrations of young love.
presents.
Points of Interest/Discussion: Humour, Rhyme,
Points of Interest/Discussion: Humour, allegory, rhythm and alliteration, Pop Culture
alliteration, pop-culture.

Talia Stanley “If I had Time” Theresa “I am Liger”

https://www.youtube.com/watch?v=Nla_EInMW0Y https://www.youtube.com/watch?v=ZpV2CTF4IQA

Theme: Youth Empowerment Theme: Identity and belonging

Description: Using slams 3 minute time limit as a Description: Using the metaphor of a Liger,
construct, a young poet discusses the importance Theresa takes a creative and Rhythmic approach to
of speaking out and using your voice for change discussing self-love and identity.

Points of Interest/Discussion: Poetry to educate Points of Interest: Allegory, biology, identity, Self
and influence, critical thinking, activism, love and acceptance, meter and rhyme.
community engagement, culture.

Hele Christopher Logan Belk “It’s youre Time”

https://www.youtube.com/watch?v=3mVEi2Thbbo
https://www.youtube.com/watch?v=os6u7drlQHA
Theme: Puberty
Theme:Creativity
Description: Equal parts humourous and awkward, this
poem explores the difficulties of our teenage years. Description: An ode t creativity and the bravery it
takes to follow your dreams.
Points of Discussion/Interest: Humour, adolescence,
taboo, storytelling, confessional poetry. Points Of Discussion/Interest: Repetition, odes,
refrain, personification, rhyme, learning from
failure, complex imagery, bravery.

43
Roimata Prendergrast “Heaven and Hell Rebecca Sang-Yum “Inside the Box”

https://www.youtube.com/watch?v=EBJ8UJ3cmsM
https://www.youtube.com/watch?v=XEzlA3aMgjY

Theme: Grief and Loss

*Strong Themes
Description: A poet travels through language that is
Theme: Objectification and abuse both stark and fantastical as they axpress grief over
the loss of a parent.
Description: A poem about the process of abuse
and guilt told through startling and stark imagery. Points of Discussion/Interest: Alteration, word-play,
indigenous language, pop-culture, grief, puns,
Points Of Discussion/Interest: Satire, strength, onomatopoeia
religious imagery, survival, abuse, allegory.

Ahmed Sedick “Resilience” Mema Luteru “Daddy”

https://www.youtube.com/watch?v=vcuQsCKw5bk
https://www.youtube.com/watch?v=4zkW-RwPulo

Theme: Faith and abandonment

Theme: Overcoming personal struggles

Description: A poem about finding Faith after a

parent walks away.
Description: This poem speaks of the trials of
growing up in South Africa and finding the means
Points Of Discussion/Interest: Refrain , Rhythm,
to become resilient.
religion, absentee parents, quoting scripture

Points of Discussion/Interest: Spirituality,

overcoming adversity, home, identity, motivation,
puns, rhyme.

Jahmal Nightingale “It’s my Turn” Arizona Leger “Introducing Culture”

https://www.youtube.com/watch?v=vhRjwqD33bc www.youtube.com/watch?v=9mZB17sAXE4

Theme: Love Theme: Culture and resilience

Description: An earnest love poem that utilizes the Points of Interest/Discussion:

game of “Would you rather” as a device to explore A Spoken Word piece that expresses the cultural
a romantic relationship. challenges young Pacific people face when living in
a multi-cultural New Zealand.
Points Of Discussion/Interest: Would you rather,
games, childhood, metaphor, simile, love.

44
Zane Scarborough Marina Alefosio “South Auckland’s Body”

www.youtube.com/watch?v=ICizYu-l9G4 www.youtube.com/watch?v=uao0v03SqPA

Theme: Social Commentary of the Instant lifestyle *Strong Language

we exist and how we can easily get into debt
Theme: Community.
Points of Interest/Discussion:
-Clever use of metaphors Description: An honest love poem about South
-The use of pace in performance Auckland and the people who live there.
-The use of simple yet clever language
Points of Discussion/Interest: Alliteration, Ode,
Personification, community, South Auckland,
community, home, poetic film, spoken word music.

Olive, Onehou, Marina Daren Kamali

www.youtube.com/watch?v=SL6vz-qOkTQ www.youtube.com/watch?v=AfkPeuYz2h4

Theme: Belonging Theme: Pacific migration, contemporary and

traditional
Points of Interest/Discussion:
A close look at growing up as a young person in Points of Interest/Discussion:
South Auckland and the cultural similarities and Use of bilingual language (Fijian/English)
differences Traditional Chants
Melody of familiar songs

Tusiata Avia- Alofa South Auckland Poets Collective

https://www.youtube.com/watch?v=xfxLkAD7Sug https://www.youtube.com/watch?v=ysHqot7afLg

Theme: Persona. Theme: Measure of a man

Points of Interest/Discussion:
Description: A performancethat blurs the lines of Use of mutiple narratives and perspective ties in
acting and poetry. the one poem.

Points of Interest: Samoa, persona, use of accent Addressing the various stereo types around what
and character, performance, storytelling. masculinity is.

45
Ben Stokes “Place to Be” “Storytellers” – Jessie Fenton

www.youtube.com/watch?v=p1dvtKUaVfs
https://www.youtube.com/watch?v=pLN7b5fl6xg

Theme: Patriotism.
Theme: Pakeha privilege.

Description: A love poem to New Zealand.

Description: A powerful and important message
about NZ history and the privilege of being Pakeha.
Points Of Discussion/Interest: Patriotism, odes,
Kiwiana, NZ, Aotearoa, home, national identity,
Points of Interest: NZ history, White privieleg, NZ
historic reference, puns, wordplay.
Land Wars, Maori, Pakeha, identity.

“Customs, a Love Story” – Mohamed Hassan

https://www.youtube.com/watch?v=38dM-hp_toQ&t=5s

Theme: Racial Profiling

Description: A humorous and creative take on

racial profiling and islamophobia.

Points of Interest: Humour, islamophobia,

Immigration, Racial profiling, islam, New Zealand.

46
SPOKEN WORD POETRY LINKS:
INTERNATIONAL

Ken Arkind “An Experiment in Noise” Youth Speaks Hawaii – Kanoa

www.youtube.com/watch?v=NyC9xh9dO08
https://www.youtube.com/watch?v=cItLzwjdT-o

Theme:
Link: https://www.youtube.com/
Points of Interest/Discussion:
watch?v=cItLzwjdT-o
Another way to do a collaboration poem using
physical space
Theme: Noise as (your) voice, and vice versa

The use of another language (Hawaiian) with

Description: This poem explores different elements
English language
of noise as an allegory for the literal and symbolic
use of voice.
Using historical fact in poetry to educate and build
awareness
Points Of Discussion/Interest: Repetition, rhythm,
resistance, extended metaphor, voice, speaking up,
choreography.

KRS-One Luka Lesson

www.youtube.com/watch?v=XajYnqGh-c0 www.youtube.com/watch?v=CJOtPjuFMAk

Theme: The Politics of Wealth & Self Awareness Theme: Race Politics in Australia
Points of Interest/Discussion: Points of Interest/Discussion:
This video is raw and intelligent - Use of song/melody
- Use of very fast rap at beginning of poem that
Poetry as an advocacy commands attention
-Historical facts
Poetry as an educational tool for an idea/message - The use of actions to emphasis words and ideas
-Clever use of puns
A respect to the true culture of Hip Hop

47
2015 BNV (Finals) “Gorgon” by Philadelphia Team “16 bars for Kendrick Lamar” – Joshua Bennett

https://www.youtube.com/watch?v=dwX38o_41tE https://www.youtube.com/watch?v=olapC5Y7omA

Theme: African American History. Theme: Hip Hop, Odes.

Description: A creative and powerful group piece Description: An ode to a poet’s favourite Hip Hop
in which young poets use poetry to address the artist.
history of their country.
Points of Interest: Odes, Alliteration, Hip Hop style,
Points of discussion/Interest: Personification, Wordplay, Rhyme Scheme, a poem in parts.
History, US slavery, team piece, metaphor.

Hip-Hop & Shakespeare? Akala at TEDxAldeburgh Kate Hao & Kristen Sze-Tu - “(Yet Still, I Wait)”

https://www.youtube.com/watch?v=DSbtkLA3GrY4 https://www.youtube.com/watch?v=PhiFYNa535o

Theme: Hip Hop and Shakespeare Theme: Erasure Poetry. *Strong Content

Description: A Tedx talk that breaks down pre- Description: In a form of poetry that is often
conceived notions about Hip Hop and proves that considered visual, two poets perform a powerful
Shakespeare might one of the greatest MC’s of all poem about Erasure.
time.
Points of Interest: Erasure Poetry, Team Piece,
Points of Interest: Tedx, Shakespeare, Hip Hop, Creative, Trauma.
Sonnets, Teaching Tools.

48
G. Yamazawa “Elementary” I Am - Mohammad Ali

www.youtube.com/watch?v=P-cYjUCudbA https://www.youtube.com/watch?v=1LSewbS5eQI

Theme: Overcoming prejudice. Theme: I Am

Description: A young man is faced with his Description: Muhammad Ali’s famous speech
own prejudice and learns a strong lesson about before his fight with George Foreman.
acceptance.
Points of Interest/Discussion: An example
Discussion/Interest: Storytelling, family, prejudice, of poetry existing in an unexpected space,
hatred, social justice, Buddhism, strong imagery. humour, strong public speaking skills, metaphor,
personification.

Elizabeth Acevedo - “Hair” Toluwanimi Obiwole - “Sugarcane” (NPS 2015)

https://www.youtube.com/watch?v=0svS78Nw_yY https://www.youtube.com/watch?v=fBYLRx7TRbg

Theme: Hair and Identity Theme: Names and Culture

Description: A Puerto Rican woman talks about her Description: A young poet dissects the meaning of
mixed heritage and pride through the metaphor her name and what it means to her culture and the
of her hair. country she lives in.

Points of Interest: Heritage, culture, extended Points of Interest: Names, culture, Immigrants,
metaphor, Hair. Extended Metaphor, identity.

Floetry “Icarus” – Kate Tempest

www.youtube.com/watch?v=vxNqqbggOrs https://www.youtube.com/watch?v=yv5fggapRwQ

Theme: Love Theme: Classics made modern.

Points of Interest/Discussion:
An example of a collaboration on one poem Description: A modern spoken word reimagining of
the Classic Greek story of Icarus.
The use of melody and song with poetry
Points of Interest: Classics, Greek mythology,
The use of rhythm and flow in the spoken word rhyme scheme, Retelling, ancient made modern.

Use of breath and pauses within a poem

49
50
APPENDIX 2: TIPS ON HOW TO
START A SLAM TEAM FOR
‘WORD THE FRONTLINE’

“There are poets in every school - the quiet kids who have a notebook under their bed that
they never show anyone, and the loud kids doing…freestyles and battling each other. You
can find the quiet ones by starting a writers’ group or simply by paying attention in class,
and you find the loud ones whether you want to or not”.

– Cris Cucerzan

It all starts with awareness and developing a healthy spoken word culture 2. Follow Up – Make sure to follow up with your students to keep them
at your school, providing space and awareness. We spoke with teachers Cris engaged. Keep a sign-up sheet for anyone interested in spoken word.
Cucerzan (Aorere College), Issac Thomas (McAuley High School) as well Even if they don’t show up for the club, students might still want to see or
as former McAuley student Roimata Prendergast, about the process. Here is participate in a reading or field trip. They may start as an observer and then
what they came up with. become a performer but that can’t happen unless they are made aware of
what’s going on. Make announcements via notices at your school, flyers,
1. Bring a Poet to class. There is nothing like seeing it live. Spoken Word remind students in class and try to incorporate Spoken Word into regular
makes poetry accessible; it shows people they can be poets and do this too. lesson plans, not just poetry.
Poetry then becomes a mirror where we see ourselves, not a window into
a different world. Consider having a poet perform at an assembly or in your “…you build on your own enthusiasm for poetry, and for sharing
classroom. This is something Action Ed and SAPC are happy to provide. Your it, by yourself being vulnerable and putting out a message at
community is also full of amazing poets, sometimes in your own school. assembly or in student notices for students who might
Having a fellow student perform is especially powerful and something to be interested in rap, lyrics, poetry, spoken word or everything in
consider with future recruitment. An important step is to reach out to kids between.” – Issac
immediately. For instance, make sure the performing poet mentions your
name as a point of contact for anyone interested in knowing more about 3. Help Students Establish a Spoken Word Club. – After you generate
Spoken Word, then remind them to come see you immediately after the some buzz, invite any of the students who showed interest to the first club
assembly to sign up. That way you have a tangible list of students who might meeting. At the club, show videos of poems for inspiration. Share your own
be interested. work or work that you like and encourage students to do the same. The goal
is to just get them talking with each other, generating ideas and creating
“I took a combination of loud and quiet that I had identified and work. Be as hands on as you need to be in the beginning before allowing
got Action Education to come in and run a series of workshops students to eventually guide the process.
that nurtured their enthusiasm, skill, and confidence. This had
several flow-on effects on the writing ability and confidence levels ”Each week, you could present one or two poetry prompts,
of a large number of my students, and it also meant that when editing or performing exercises since spoken word poetry, as well
Word: The Front Line started the following year, I had a core group as rap, are underpinned by a set of key skills. Developing these
very willing to give it a go.” - Cris skills is a key part of making poetry a long-term affair rather than
something short-lived.” – Issac

51
4. Consistency – Keep the club regular and the space the same. Part of what feel like they are a part of a larger community, and it’s a great way to meet
students get from spoken word is a sense of community, one where they can others whom share the same growing interest in Spoken Word.
be themselves. So making sure they have a reliable date, time and venue
is key to long term success. Like any club, providing some good snacks is “…by providing opportunities for the students to attend the
helpful as well. The space can be after school or during lunch times, the more monthly Stand Up Poetry nights run by the South Auckland Poets
convenient for the students the better. Collective, which at first involved contacting parents to
ensure them that, although this was not a school-run activity, I
would be in attendance and it would be a safe and productive
environment.- Cris
5. Practice what you preach – Write poems. It can be a very sensitive process
to create and share, by modelling that behaviour it helps to show that you
are on this journey with them. Write something, memorise it, and then rock
it for the class. Not only will it help give them the confidence to do the same, 7. Identify Student Leaders – Spoken Word’s power as an engagement
you might actually enjoy it! tool is its accessibility. Anyone who is interested can participate. Allow the
students to have control over their group, eventually they will be the ones
“1- Expose your own writing (even writing you are not proud of). 2 doing the recruiting. Seeing peers that are passionate about something is
-Write poetry each time you meet. 3 -Take note of the a huge buy in, it creates a social currency that is necessary. This process is
world around you, and encourage students to also be especially important because it helps to create a culture that exists outside
observant and see their lives as useful fodder for of any individual. As students graduate and move on, the next generation
poetry. 4 -Encourage those who are hesitant to give things a go. takes over.
Over time, they will build resilience and maturity.” - Cris
“With the support of a teacher through whom we could rely on,
we arranged workshops and when and where to hold them.
What I enjoyed about running these workshops was that I never
6. Beyond the Classroom - Make students aware of Spoken Word in their expected to see these girls pick the locks and speak
communities outside of class. This can be provided by having poets visit your freely, through poetry and about themselves. About a year later,
school but it’s also important to share with them opportunities outside of the girls whom attended these workshops were now competing in
school. Aotearoa is full of spoken word events. Arranging extra credit or field WTFL - and I was their mentor”. – Roimata
trips to events is a great way to do this as well. This can help the students

“The staff at South Auckland Poets Collective and Action Education do an underrated
and fantastic job enabling the students to voice themselves and their world views.
The events they organise - whether it is the competition itself or workshops - are often
educational both for students and teachers. As teachers, attending those can help you
build relationships with the organisation, whom are very amiable and willing to help if
you have a vision for poetry in your school, but it will also help see the poetry students
in a different light. You will be surprised by what you learn - pleasantly surprised”
– Issac Thomas, Teacher, McAuley High School

52
APPENDIX 3: YOUTHLINE’S
APPROACH TO POSTVENTION 2011

The Youthline approach is to provide therapeutic interventions for clients

based on safety, client preferences, needs, available resources and
international best evidence in accordance with Youthline Ethics and Policies
and Procedures.

New Zealand has concerning rates of suicide, particularly in the youth sector. • Slower recovery in the first 2 years following the suicide;
For every person who dies by suicide, it is (conservatively) estimated that
6 others are seriously impacted. It is essential that these people are well • Prolonged feelings of grief.
supported.
Further common characteristics of a person bereaved by
suicide include:
WHAT IS POSTVENTION?
• Having unanswered questions that are likely to underlie and
Postvention is “the provision of crisis intervention, support and assistance exacerbate the above feelings of grief;
for those affected by a completed suicide” (The American Association
of Suicidology). Postvention also encompasses prevention principles by • Strong need to find meaning in the death;
reducing the risk of further suicides.
• Great feelings of guilt, blame, rejection and abandonment;
Suicide Bereaved Some of the people impacted by a death by suicide include
familes, whanau, significant others, friends and communities. • Feelings of stigmatisation and social isolation;

The bereft are often referred to as “suicide survivors;” in line with the New • Interrupted family communication and interaction.
Zealand Ministry of Youth Development, this paper will refer to people who
are affected by suicide as being “bereaved by suicide” or “suicide bereaved,” Common feelings/reactions to death by suicide in young people:
so as to avoid confusion with people who have survived a suicide attempt.
Terror, devastation, physical collapse, frightened that they could die
Bereavement does bereavement from suicide deaths differ from that of non- themselves/kill themselves, more awareness of their risky lifestyle (if the
suicide deaths? death was alcohol/drug/risk taking behaviour related), feeling like they
have lost a ‘part of themselves’ (young peoples relationships can be very
Grief arising from bereavement by suicide is comparable to the grief response fused, integrally important), idolizing lost friend (this can be both positive
experienced by other traumatic, sudden and/or unexpected deaths. and negative, positive for example if the young person wants to further
develop in themselves positive aspects of the lost person such as their
Research however, indicates that measurable differences exist between kindness however sometimes negative for example the young person
suicide bereaved and those bereaved by other modes of death. Differences was remembered as a gang member), anger at the media if things are
include: misrepresented or portray the young person in the wrong light (where media
are involved).
• Significantly greater frequency of feelings of responsibility;

• Higher levels of overall grief;

53
Suicide Contagion • Support young people in their grief process.

Research shows that the death of someone by suicide renders those closest • Always affirm young people’s resourcefulness.
to them at greater risk of self-inflicted injury, suicide attempts and completed
suicide. • Assist family/whanau with helpful approaches to support other
young people they care for.
Sucide Clusters
• Seek professional help where impacted young people’s behaviour
A secondary effect of suicide contagion that may account for up to 13% of or mood concerns you.
youth suicides is the emergence of a suicide cluster. A cluster is when more
suicides occur in a community than are statistically expected (usually 3 or • Assist young people to build resiliency through ensuring they stay
more). connected with friends and family and engaged in activities.

Most vulnerable to a contagion and cluster effects are adolescents and young • Where affected young people have a strong identification with the
people. suicide victim ensure you identify their strengths and differences
from the victim as well as looking at alternative methods of
To minimise this risk, postvention approaches must promote appropriate overcoming difficulties.
representations of and reactions toward suicide.
• Follow up with young people and families after the dust has settled.
To Minimise The Risk Of Contagion: Grief processes take their own time and concerning behaviour
or moods may unravel after initial supports have been reduced and/
• Identify young people who witnessed/found the person or removed.
who completed suicide. They may develop trauma symptoms
complicating their grief process.
UNHELPFUL APPROACHES
• Identify young people connected to the person who died by
suicide who may be more vulnerable due to a history of mental To further minimise the risk of contagion, certain postvention approaches
health difficulties. should be avoided:

• Identify young people who share feelings and a similar life situation • Sensationalising the death
to the person who completed suicide. A sense of inevitability Unnecessary and/or inappropriate attention should not be given to
might arise about their own suicide. This is particularly a risk when the suicide act. It is also important to ensure that facts are verified
family members have died by suicide. and rumours are addressed.

• Present suicide as the result of multiple factors and complex • Glorifying or vilifying the suicide victim
interactions between often long standing psychological, social and Individuals for whom postvention has been arranged should not
medical problems. be encouraged to identify with the suicide victim nor admire their
actions.
• Suicide should not be presented as a means to achieve a certain
end, to cope with loss or personal problems, or in any way as an • Providing excessive details about the suicidal act
acceptable solution. Unnecessary detail about the mode of suicide should be avoided.

• Empathy for family and friends can lead to the focus being on This also includes inappropriate or excessive media coverage of the incident,
the positive aspects of the deceased. It is natural for people who which might encourage imitative behaviour.
are bereaved by suicide to praise the qualities of the deceased
however venerating statements need to be balanced with some Advice about the ways to avoid perpetuating stigma is provided at the end of
attention to the problems the person was experiencing. this paper

HELPFUL APPROACHES YOUTHLINE’S APPROACH

• Ensure a support network is in place for those affected including To facilitate the effective coordination and implementation of community
young people and family/whanau. Identify young people who are postvention strategies, the Ministry of Youth Development (MYD) has
linked with the person who died by suicide and organise a support provided a set of guiding principles. The following section will discuss
person/people to check in with each of them following the event. Youthline’s approach to postvention within the framework of these
This person does not need to be the school counsellor but may principles, relating to the YDSA. By employing a strengths-based approach
be a trusted adult who the young person sees as a mentor – for that is aligned with both the MYD Principles and the YDSA, Youthline will
example a sports coach. action the 6th goal of the New Zealand Suicide Prevention Strategy 2006-
2016, which is to ‘support families/whanau, friends and others affected by a
• Ensure young people and families are provided with information and suicide or suicide attempt.’
contacts where they can seek support.

• Never underestimate the impact of a sudden death by suicide on

young people even if the impact is not obvious. Check in with

54
young people.
MYD GUIDING PRINCIPLES FOR POSTVENTION SAFETY OF CLIENTS AND OTHERS
APPROACHES
As with all Youthline work, the safety of clients and those who work
PRINCIPLE ONE: Establish appropriate values with them is of paramount importance. This is especially central when
coordinating postvention strategies as there is an increased risk of suicide
Youthline operate from a youth development perspective; postvention amongst this population.
initiatives, therefore embrace the following values:
All counsellors will clearly explain confidentiality and its limits when they
• Strengths-based approach: identification with a suicide victim enter into a new counselling relationship.
and their difficulties increases young people’s vulnerability to suicide
contagion. By focussing on the young person’s strengths rather than All Youthline counsellors are familiar with and utilise Youthline Polices and
their weaknesses, alternative pathways out of difficulties can be Procedures to underpin their practice. These policies and procedures are
achieved and resiliency built. This is aligned with the 3rd priniciple of assessed by Child Youth and Family and Youthline is an accredited provider
the YDSA. under the Child Youth and Family Act.

• Respect: the avenues of help and support available at Youthline will Risk of suicide and suicide attempts are increased among people with
be identified and offered to young people and their families. They depression; Youthline’s policy includes comprehensive risk assessment
will have the choice to engage in as many or as few of these and regular review. Therapists are required to follow Youthline Policy and
services as preferred. Procedures re safety, suicide and self-harm.

PRINCIPLE TWO: Recognise culture

CONFIDENTIALITY
Cultural competency is embedded within Youthline practice. Practitioners are
trained to recognise that different cultures may have different perceptions All information about the client is treated with confidence within Youthline
of suicide and/or treatment preferences. This is in accordance with the 1st and not passed on without the client’s prior consent, unless the safety of the
principle of the YDSA, which is that youth development is shaped by the big client or of others is threatened.
picture.
If a Youthline worker determines that a client or another person’s safety is
PRINCIPLE THREE: Link to services, information and support threatened and they need to contact an outside agency they will inform the
client of this step if at all possible.
This principle relates to the 2nd principle of the YDSA, which is that youth
development is about young people being connected, and to the 6th If clients prefer, Youthline will help them to find someone from their own
principle, which is that youth development needs good information. These culture to talk to.
principles are especially important for clients who are bereaved by suicide as
access to relevant information may help answer some of the questions they Youthline is able to refer clients to other community agencies if it is
face. Youthline will inform clients of both internal and external services that appropriate. Clients have the right to choose whether they see a counsellor
can support them during the grieving process. alone, with a friend, or with family members. A translator can be arranged if
required.
PRINCIPLE FOUR: Make use of the research

Youthline are familiar with and work to implement the New Zealand Suicide REFERENCES AND INFORMATION
Prevention Strategy. This paper and practice at Youthline are evidenced
based and informed by current best practice guidelines and research to Beautrais AL, Suicide Postvention Support for Families, Whanau and
ensure client care, including postvention initiatives is appropriate. Significant Others after a Suicide: A Literature Review and Synthesis of
Evidence. Ministry of Youth Development, 2004.
PRINCIPLE FIVE: Become learning organisations
Gould MS. (1990). Suicide clusters and media exposure. In: SJ Blumenthal
Youthline encourage and provide professional development for staff and SJ, DJ Kupfer, (eds). Suicide Over the Life Cycle: Risk factors, assessment, and
youth development programmes for young people so as to educate members treatment of suicidal patients. Washington, DC: American Psychiatric Press.
of Youthline about the issues surrounding suicide. These issues include
prevention, intervention and postvention strategies. Promoting development Henare K & Ehrhardt P, Support for Maori, Pacific and Asian Family, Whanau,
through learning embraces the 5th principle of the YDSA, which is that youth and Significant Others who have been Bereaved by Suicide: Findings of a
development is triggered when young people fully participate. Feelings of
empowerment and autonomy can be protective factors against the risk of Literature Search, Ministry of Youth Development, 2004.
suicide and these are created through meaningful participation.
Health Innovations and Management Services, Support for Families, Whanau
PRINCIPLE SIX: Promote safe practice and Significant Others Bereaved by Suicide: Findings from Stakeholder
Consultation, Ministry of Youth Development, 2004.
As with all Youthline work, the safety of clients and those who work
with them is of paramount importance. This is especially central when Johansson L, Lindqvist P, Eriksson A. (2006). Teenage suicide cluster
coordinating postvention strategies as there is an increased risk of suicide formation and contagion: Implications for primary care. BMC Family Practice
amongst this population. Please refer to the section ‘Safety of clients and 7: 32.
others’ for details about how this principle is enforced.

55
Ministry of Youth Development (2005) Guidance for community HELPFUL INTERNATIONAL WEBSITES
organisations involved in suicide postvention
www.save.org
SPINZ, Support for Families, Whanau and Significant Others after a Suicide: A www.grieflink.asn.au (Australia)
Resource Identification Report, Ministry of Youth Development, 2004. www.tcf.org.uk (UK)
www.griefnet.org (US)
Brock, S.E. (2003) Suicide Postvention. California State University, Sacramento www.kidsaid.com (US)
Department of Special Education, Rehabilitation & School Psychology. www.survivorsofsuicide.com/help_heal.shtml
http://au.reachout.com/find/articles/when-someone-takes-their-own-life
Supporting survivors of suicide loss: a guide for Funeral Directors
American Foundation for Suicide prevention:
SIEC Alert #46, November 2001 Grief After Suicide: Notes from the Literature www.afsp.org
on Qualitative Differences and Stigma. Centre for Suicide Prevention.
Canadian Mental Health Association.

Shneidman ES. Postvention: The case of the bereaved. Suicide Life

Threatening Behaviour 1981;11:349-359)

Ministry of Youth Development:

www.myd.govt.nz

Ministry of Health:
www.moh.govt.nz/suicideprevention

The American Association of Suicidology:

www.suicidology.org

Suicide Prevention Information New Zealand:

www.spinz.org.nz

The Canterbury Suicide Project:

www.chmeds.ac.nz/research/suicide
www.skylight.org.nz
www.victimsupport.org.nz
www.spinz.org.nz
www.griefcare.org.nz

SELF-HELP INFORMATION FOR CLIENTS

Irving, T. & Hirsh, L. (2003). After the suicide of someone you know:
Information and support for young people. Wellington, New Zealand:
Skylight, 2003.

Urge/Whakamanawa: www.urge.co.nz
Youthline 24 hour contact details:

Youthline support line: 0800 37 66 33

Free txt: 234
E-mail: [email protected]

56
APPENDIX 4: ICE BREAKERS

NAME AND ACTION GAME Everybody who this is true for has to change seats but can’t move to the seat
to their very left or right, it at least has to be one seat over. When everyone
Get everyone up on their feet in a circle. The first person to begin calls out moves you jump into a spare seat and there will be someone left in the
their name then takes one step into the circle and does an action to do with middle it is then their turn to ask a question. Also explain that you can say
something that they like doing. Then everyone repeats their name then takes things like anyone who likes hip hop or anyone who has had a detention this
one step into the middle and repeats the action. Then the next person goes. week.
Lead this by example.
It is important to reiterate that what you say must be true about yourself if
E.g John says “John” then takes one step into the middle and makes a rugby you are wearing jandals you can’t say anyone wearing shoes.
pass. Then everyone repeats “John” and takes one step into the middle and
does a rugby pass then steps back. Then the person next to John goes. The other rule is you can say Juicy Fruit and everyone has to move. Explain
that it is good to have a question ready for when you go in the middle.
It is important that the facilitator is the first person to give their name and When and if you get stuck in the middle it is important to model the level of
action and to do this as enthusiastically as possible so that you model what disclosure that you want to generate in the group. For example if everyone
you expect from others. is saying things to do with their appearance you may want to say something
like anyone who has had an argument this week or anyone who has sisters
Begin by explaining that his game is about challenging yourself. That it’s (remember that it has to be true for you too).
about taking a risk and not caring what others think. That in the workshop
we will be sharing things about ourselves and expressing who we are so this Keep going until you notice the energy of the group ebbing. Mae sure you give
is just a warm up for that. notice before finishing by saying something like three more after this one.

It is also good to note that this is a family show and to please keep things rated
PG. this normally gets a laugh. Try to be as flexible as possible with the actions FACES
as some people will be very shy and even clapping will be a big thing for them.
If they do an action such as simulating drug use or something which is equally Get the class into pairs. Ask them to decide who is A and who is B. Each
inappropriate you can ask them to do a different action. person gets a paper and pen. You tell them that they are going to take turns
drawing each other but there are 3 rules involved.
Once everyone has had a turn and completed a round. Say that you are going
to step it up. Everyone uses the same action but you need to go twice as fast. Rule one, They are to draw each other’s faces using their non-dominant
You start off and lead the pace. hand, so the left one if they are right handed and vice versa.

Rule two, They not to take their eyes off each other so no looking at their paper.
JUICY FRUIT
Rule three, once their pens touch the paper they can’t take their pens off the
This is a great game to learn more about each other whilst also getting paper.
everyone moving and taking some positive risks. Start by placing chairs in a
circle so that everyone has a seat except you. You stand in the middle and A draws B first then swap over explain that is the job of the person who is
explain the rules. Begin by saying this game has many names and some of being drawn to make sure the other person doesn’t cheat. Once they have
you may have played it before but today it is called Juicy Fruit. drawn each other ask them to write the name of their partner on the paper
and interview each other by asking the following questions.
The idea is to say something true about yourself e.g
“anyone who is wearing shoes.”

57
They are allowed to right the answers down normally. cannot make a phone and place itagainst their ear and pretend to have a
conversation. The group can only guess from the shape of the sculpture.
What is their favourite food
3) They cannot make letters or write into the play dough what the object is.
What is their favourite movie (They can have more than one)
Make sure you explain the above rules clearly before the game begins and
What is their favourite music (Can be a genre or singer/s or group/s) be prepared for teams to break them, because they will. If a team cheats you
can start the round again or subtract a point.
What is a big challenge you are currently facing right now?
When choosing the objects which they need to make you can start with
Once everyone has finished go around in the group, each person shows there objects which a relatively easy such as flower, snail, house, iPod and then
picture and introduces their partner by sharing there answers. move up to more difficult things such as bling, family, friendship etc.

PLAYDONARY

This is a great ice breaker if you are going to be working in small groups in
the workshop and you want to warm people up to working with each other.
Firstly split the participants into small groups with at least three people in
each group, groups of 4-6 are ideal. Give each group some play dough.

Explain that this game is like pictionary – except the artist moulds the play
dough instead of drawing a picture. Each person in the group will take a turn
being the sculptor and at the beginning of the round the sculptor from each
group comes up to the front to receive the topic from the facilitator.

Once you have a sculptor from each group, write down what the name of an
object on a piece of paper so only the sculptors can see it, once they have
seen it, they then run back to the groups and have to make the object you
wrote down. Now it becomes a race and the group to guess what the object
is that the sculptor is making first, wins and receives a point. You play again
until each person has had a go sculpting and the group with the most points
wins.

There are three main rules;

1) The Sculptor or person shaping the play dough cannot talk or make sounds
once they have been given the object by the facilitator.

2) They cannot make actions with their body or by moving the play dough
to describe what the object is. For example if the object is a bird, they
cannot flap their arms like wings and make bird noises or make the bird out
of play dough and flap their wings. Similarly if the object was a phone they

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SPOKEN WORD
POETRY GLOSSARY

Slam Is a poetry competition. Slams are about growing the poetry movement by firstly providing a platform
for the poet (emerging and established) and exposing poetry to audience members that would never
otherwise chose to have a poetry experience. Slams are entertaining and inviting.

“Slam is not about making stars. It’s about everybody all together in a room with their hair down and
feet up. From its beginning, slam has been an art form and entertainment open to all people from all
walks of life – young and old, rich and poor, blue collar and white collar, gays and straights, priests and
prostitutes, biologists and belly dancers – a multi coloured, multi cultural gathering of people who love
to hear and perform poetry”.(Marc Kelly Smith).

Credit for its creation is given to Marc Kelly Smith in Chicago during the 1980s. There are a variety of
slam formats including production, judges, guidelines and rules. You can find many ‘How To’ books and
resources in amazon.com.

Open Mic Is a space that is created for any poet (new, emerging, established) to showcase their poetry by
performance or reading. This can happen in a formal or informal format, in any venue (commonly a pub
or community space). The common format involves the poet to sign up for the open mic with the MCee
of the night, poets are then called up and given 10 minutes or less to share their poems.

Open Mics are an awesome space to test our new works or if you are new to performing or reading your
poetry to boast your confidence and performance and speaking skills.

Cipher The process of tapping into your subconscious. A state of mind where thoughts and actions flow from
your mind rather than being instrumented.

Clearly shown in freestyle/beatbox circles and breakdancing.

www.urbandictionary.com/define.php?term=cypher

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 Open Space Is an unstructured time for people to share their poetry. This is something that the facilitator must create
safely in order to encourage open sharing.

Ice Breakers These are fun games and activities designed to build rapport and connection between participants and
to stretch comfort zones so that participants build confidence within the group. Using Ice breakers in this
manner means the participants will better engage with writing exercises.

Positive Risk Positive risk taking in this environment means the participants ability to step out and openly express,
Taking contribute and engage in the workshop. There are many barriers in place for a young person to actively
participate which mainly revolve around being accepted by their peers. Positive risk taking means taking
a risk such as sharing some poetry within the group which can build both confidence and esteem.

Positive Youth Refers to intentional efforts of other youth, adults, communities, government agencies, and schools
Development to provide opportunities for youth to enhance their interests, skills, and abilities into their adulthoods.
(Wikipedia)

The Youth Development Strategy Aotearoa is a fundamental resource for anyone working with young
Youth Development people and can be found www.myd.govt.nz
Strategy

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KIA ORA, TALOFA LAVA, KIA ORANA,
MALO E LEILEI, NIS SA BULA VINAKA &
WARM PACIFIC GREETINGS

Spoken Word Poetry is an art form that’s increasingly recognised as an Contact details Action Education
effective vehicle through which young people are able to explore themselves
and understand their place within their culture, family, whanau and Ramon Narayan (Manager)
community.
[email protected]
Spoken Word is a medium that builds connections across cultures, (09) 3614176
generations and geography. It provides an access point for young people to 0212310066
express their innermost thoughts and issues they are grappling with. This is a
medium which young people are drawn to and given the space and the tools,
one they are able to thrive in. OPTIONS / MENU OF WORKSHOPS

Action Education offers a variety of Spoken Word Poetry programmes that These are only a guideline, and we have the capacity to tailor our workshops
can be delivered over a series of weeks, or as one-off workshops. We have a to suit your curriculum themes.
variety of themes that we work with and can also cater to the specific needs
of your group. The programmes can be delivered within schools and are We value authentic learning environments that respond to the needs
aligned to the New Zealand Curriculum, with a specific focus on the English of youth and can design workshops and programmes to suit the unique
and Drama learning areas. requirements of your students.

The programmes are designed to give young people the tools and confidence Workshop 1 - Introduction Workshop
to be able to articulate their own journey, experiences and
world view. This will involve the live performance of a poem by each facilitator, this
workshop session includes three components;
Action Education is proud to have the experienced and professional
facilitators of the South Auckland Poets Collective leading these dynamic a) defining spoken word poetry
youth development programmes.
b) writing exercise

THE BENEFITS FOR TEACHERS AND STUDENTS c) open floor – an opportunity to share your writing

a) The nature of Spoken Word as a style of poetry develops the skills of Added bonus feature, a follow up session plan with resources made available.
writing, speaking and presenting. Students will learn how to listen to a
spoken word poem, learn to give and get critical feedback to their own 2 Workshops
poetry and others’, and learn how to identify performance annotations in
their poetry to create Spoken Word poetry pieces. Workshop 1 - Introduction Workshop (as above)

b) The benefits of incorporating Spoken Word poetry in the English Workshop 2 – Basic Performance Annotations
curriculum, is that it provides a dynamic and accessible medium that inspires (this is asking the writer and peers to identify performance opportunities
young people to (re)connect with literature. within their work. Eg; playing with how the poem will sound out loud,
tone, pace etc....also how it will look in terms of actions, use of the stage/
c) Spoken Word poetry is also the perfect vehicle to make poetry and space.) Students will then practice these annotations out loud (we will have
literature meaningful, appealing and relevant for young people. prepared poems or lyrics for those that do not have a poem prepared for this
session).
d) These workshops have also been designed to link with English curriculum
themes of speaking, writing and presenting, as well as English Achievement 4 Workshops
Standards.
Workshop 1 - Introduction Workshop (as above)
e) Alongside the onsite workshops and programmes, we provide follow up
lesson plans and resources that can be lead by teachers. Workshop 2 – Basic Performance annotations (as above)

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Workshop 3 – Say It Out Loud
Building on the writing from workshop 2, End of workshop each student will
have created poem. Students then practice the performance annotations
in their poems, receive critical feedback from peers and facilitators. Open
discussion about this process and open floor of sharing poems.

Workshop 4 – Stand & Speak

Opportunity to work on poems at a performance level, open floor for
performances of these poems.

What Other Areas of the School Can These Workshops be linked into?

Alternative Education – Self exploration and expression.

Teen Parent Units/Groups – Opens up discussions, worries and visions for

their new role as a parent.

Writers Groups – Develop performance skills to breathe life into their

own writing.

Health Classes – A tool of personal development, in particular topics of

identity and culture.

Perfect/Leadership Groups – Spoken word poetry as a advocacy tool.

Drama Classes – Encourages aspiring actors to write their own stories.

Youth Groups – Explore culture, identity and life stories. Build connection and
rapport amongst group members.

Costs

$80 per hour per facilitator – flexible and negotiable depending on

programme type and school needs.

We also provide professional development in this area and training in the use
of this guide. If this is of interest please contact ramon@actioneducation.
co.nz to sign up for Action Education Professional Development opportunities
in Spoken Word poetry.

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“ POETRY IS
NECESSARY
“