Please to enjoy this Grammar Lesson Video from Sebastian of this semester’s Comp I class.
I know, lovely lurkers, you’re just plain tired of listening to me apologize for being an infrequent blogger. So I’ll stop doing that. Instead, I’ll be more pro-active and tell you about the things going on in my world.
The three Regis grad students I’m advising, facilitating, and otherwise guiding through various reading and writing projects are about to conclude their sessions. They had some lovely things, including magical realism romance, and analyzing novels in YA literature.
I was movement coordinator for MSU’s The Country Wife, which was a super-enjoyable comedy of manners that the young actors tackled quite well, movement-wise especially, if I do say so myself. I was just chatting with one of the actors the other day, relaying some compliments the SO had given them. I told this student that it’s a pretty impressive feat, to move in that stylized, elegant way (think 1675: wigs, fans, calves, snuff…) when he no doubt just got to his height, what, a couple minutes ago (he had just turned 21)?
I was also, even more recently, brought in to advise the scuffles in Local Theatre Company’s production of The Rape of the Sabine Women by Grace B. Matthias. This is a high quality, tight, and of course timely play that I am delighted to be a part of. The challenge of this one is the thrust stage (audience on 3 sides), and though it’s not exactly realism (there are dreamlike aspects to it), it still needs to have a level of verisimilitude that will insure the audience won’t be jerked out of the story. They open this weekend, here in Boulder at the Dairy Center, so if you’re local, lurkers, go see it!
Finally, it’s burlesque time again in Jenn’s world. That’s right, Bronze Fox Burlesque is taking over one of the little nooks at License no. 1 bar in Boulder on a Wednesday night, this time in a Clue movie theme, in anticipation of Halloween. I’m dancing a solo, a duet, and I get to do one of my favorite Madeline Kahn moments in cinema. Again, if you’re local, come down to see us on the 25th at 9. But these events always get packed, so if you do come to this, get there early.
In the first of these VKPS posts, I discussed and showed the Grammar Video Lesson assignment. Of course, you can surely see, lovely lurkers, how this assignment could work quite well in any class subject, any field.
The second way I encourage video projects instead of writing is in the Reading Response. Now, as a prof of the humanities, I perforce assign lots of reading to my students. I curate the reading carefully, and I always ask for a Reading Response (with a few specific guidelines as far as what I’d like to see in their responses). Basically, I want to see that they’ve done the reading, and I want to know what they think about it. More: I want them to connect the readings to other stuff they’re doing, and synthesize it within the rest of their scholarly (and other) experiences.
The Reading Responses (oh, and these are for ALL my courses, not just the ones on writing) usually end up being a few paragraphs of sloppy writing and an accompanying image up on a blog (my assigning blog creation for classes is a whole ‘nother post). But I always give the students the vlog option. Which is simply that they can record a video of their reading response in lieu of a written one, and they post it the same way they would a written response.
Surprisingly, not many students opt for the video version of this, but two students in particular found the option invaluable.
Nate’s writing skill wasn’t top notch, but his immersion in the stage combat class material was. He would ruminate on the readings into his phone while walking through campus, interspersing his thoughts with footage from class, making for an engaging, thoughtful, and thorough response. I wouldn’t have gotten nearly as much from a written response from him, and he also got interested in video composition, adding these skills to his technological knowledge in classes. There’s a technology requirement in all general ed courses (which this one wasn’t), which is another reason why assigning videos is a good thing in the comp courses. Here are two examples of Nate’s work from advanced stage combat at Metro. These were from a few years ago, so if you wonder at the video quality, that’s why.
Jackson is a Composition student of mine. Now these classes are all about writing essays, and for him, writing is a major struggle. So when I gave him the vlog option for the reading responses, he jumped at the chance to have some assignments that didn’t involve writing. Thing is, when he shared his notes for his video responses with me, it was apparent that his understanding of the reading was complete, and when you see his videos, you can hear yourself how intelligent and on top of the material he is. If I had not given him the option to respond with video instead of writing, you better believe I wouldn’t have been able to tell this.
So there you have it. Two instances of video assignments working well for higher education. That’s not to mention the read-aloud assignment for Children’s Literature…..
Apologies for those of you that have been waiting on tenterhooks for these posts–like I said before, work has bullied its way in front of any creative/extracurricular work I’ve been wanting to do, particularly that with only internal deadlines. But now I am FINALLY getting my two cents’ worth on this subject down here, in lieu of pitching it over at PitchLX (sorry I can’t be there after all, folks: have fun without me). This concept is one I have catchily titled “Video Killed The Paper Star,” and it refers to replacing writing assignments with video projects.
Now please don’t misunderstand me–I don’t mean to say that papers shouldn’t be assigned ever (that ALL assignments should be multimedia), or that there’s no place in higher education for rhetoric and critical thinking. There sure as heck is, and every single student needs that particular type of rigor. Believe me. Of course I wouldn’t posit such things–I have a mouth to feed.
What I will aver, however, is that academic writing is obsolete (as much as the Ivory Tower folks still cling to it), and that the single most important lesson a student can possibly learn in college or university (after rhetoric) is collaboration. Sound a bit corporate-flavored, not academic? Well, yeah. And that’s a good thing. (I know, I know: who am I and what have I done with the real Jenn)…
I have taken to replacing written quizzes or papers with video projects in two major ways. The first is a fun project called the Video Grammar Lesson. I came up with this assignment for the following various reasons: 1) I hate teaching mechanics, I’m not particularly good at it, and it’s not my job. I’m a good teacher of writing, and reading (as well as interpretation of same), but the grammar stuff is irksome to me. 2) all of my comp students need grammar lessons. All of them. Every single one. Yes, Virginia, even the ones who are good writers already (and those are few enough). 3) teaching something to someone else is a great way to learn the thing better oneself. 4) there aren’t many group projects that truly teach collaboration, without the loopholes of the lazy (the one who does nothing and lets the group do all the work) or the control freak (the one who takes over everything because she can’t stand the quality of anyone’s stuff but hers).
So I thought, why teach them grammar when I can let them teach themselves grammar? The video lesson sprang out of all of this. They have 5 minutes or less to create a lesson on any bit of grammar or punctuation they want. They tend to choose their lessons based on what they find most interesting, easiest, or most inspired by, seeing the examples I show them and those on YouTube. What happens is usually a fun, creative sorbet before they plunge into the big research paper. Here are some notable examples:
I am most interested in the first clip of this group’s work. These kids decided that each group member would do a solo video on a part of speech, and they’d stitch them together into one video. I am most interested in the first segment for two reasons: First, the Google search with narration is quietly funny and very engaging, as well as clear and informative. It’s a clever idea. Second, this student was a very quiet young man. I could tell he had a good brain in his head from reading his writing, but he was very very introverted. This is a lovely way of being able to enjoy his dry sense of humor without undue stress, like say what a classroom presentation would cause.
This fun-loving duo came up with a random yet highly entertaining premise for their video on interjections. It’s just delightful and fun, and it’s also cool that Grace’s brother composed the music.
I have a few other examples of grammar video lessons here on the blog. Do a search for Grammar Video and you’ll find them. Stay tuned for post 2/2 where I’ll talk about video reading responses.
From: ep. 3.2
Event (culprit): The wedding photographer is the (attempted) murderer.
Reference: Well this isn’t from the original canon (though the name of the murderer [Jonathan Small] and the act of Sherlock catching him by handcuffing him to luggage is indeed from the original namesake of this episode, The Sign of Four). However, this particular plot point was so uncannily like an episode from an earlier TV series, one very Sherlockian in nature, that I can’t help but think Mofftiss were inspired by it and lifted it.
In episode 1.4 of stellar TV series Lie to Me, the reason Cal Lightman, micro-expression expert, can’t see malicious intent on any of the wedding guests in the wedding videos after the groom has been shot, is that the would-be murderer is actually behind the camera. The plot there involves a jilted jealous past love, whereas in Sherlock 3.2 it involves revenge against Major Sholto (another character name from the canon original).
I use invective, lovely lurkers, with conscience and reason. Why I just used one of the words that would make my movie Rated R in America is that I just saw that the last post on this blog was posted in, like, mid-August. Seriously, what the fuck? Why do you tolerate this kind of behavior from me, huh? Are you all so busy reading Parallel Bars that you can’t be bothered? Can’t say I blame you, truth be told…
So I’m jogging in the reins of Week 4 at both Metro and Front Range, Week 2 of Regis, and the verrrry beginning of Week 1 at DU. And lemme tell ya about the cool shit that’s happening at all those fine institutions (okay, I’m going with this invective thing):
At Metro: I’m teaching that online Staging Cultures course I’ve told you about before. It’s a really good reading list, lovely lurkers. Let me know if you want it. I’m also doing a MW (that’s Monday & Wednesday, kids) Intro to Theatre, which is a delightful gen ed course I haven’t done in a while. Man are those First Year Success students bright eyed and enthusiastically bushy tailed! They’re just about to embark on their historical presentation projects AND their Raisin in the Sun unit, so wow how much good material can we stomach at 11am? A lot, apparently. Youthful energy, I’m tellin ya…
Beginning Stage Combat over at Metro is Friday mornings as is usual, but as is not usual, it’s SO FULL YOU GUYS! There’s, like, 24 or something people in it, and they’re all lovely young talented energetic insane theatre majors and I am having so much fun and getting so old…. They’re just about to start choreographing their Unarmed fights, and I could not be more excited!
At Regis: I have two lovely and talented grad students doing a one on one Writing the Novel course w me; and one other lovely and talented grad student doing my own self-constructed YA Literature course (one on one, natch. It’s nearly always one on one at Regis). It’s going to be some stellar writing, which will only make me wish I had more time to work on my own work….
At Front Range: it’s two evening courses: a Comp I and a Comp II. The former is revising their Mini-Essays as we speak (Er, as I type), and you know what that means! That’s right: the Mini-Essay Contest winner post is imminent! Let’s hope it’s not the next one, as I need to be more frequent than that here….
Comp II as is usual these days for me, functions under a theme of Creativity and Innovation. They just finished their (quite high quality) Elevator Pitches, and now have just been introduced to the Analyzing An Image essay, which is where they pick an ad or psa and analyze it in essay format. Should be some good reading.
At DU: Children’s Literature started today! As my ancient, steam-powered laptop decided to become a doorstop recently, it was quite the challenge to get that course shell updated and ready to go for a fresh crop of Professional Writing graduate students. But I am nothing if not diligent. And, yes, I have a lot of work to do still, but hey at least it’s up and functioning, and thanks to the SO, I have a brand spanking new refurbished box I can now use to get everything even more ship-shape. Thanks to that generous soul…
Oh but that’s not all! I also continue to have professional endeavors:
Bronze Fox Burlesque is doing their next show at License no.1 under the loose theme of Clue (the movie) and murder mysteries in general. I am mulling over choreography for a duet and a new solo right now…
Metro is doing The Country Wife in a couple weeks, a ribald comedy of no manners at all, and I am consulting the period movement as well as choreographing and directing a raucous chick fight with fans. And maybe fisticuffs.
I’m still writing for Parallel Bars and Your Boulder, editing the SO’s spectacular new book, and I’m just now starting to think I could remount my Retro Reviews of Sherlock, over on Sherlock’s Home, now the 4th season is far enough away…..
I guess there’s a reason it’s taken me so long to post here. Yeah, well. NO FUCKING EXCUSES, AMIRITE?
Ahem. Carry on….
It’s Fringe Fest time in Boulder again, lovely lurkers, and this summer I’m involved in the show that Boulder Burlesque is putting on, called Pussy Grabs Back. It’s a pretty fun show, full of all kinds of boobs, politics, twerking, and other shenanigans, and we’ve got 5 slots over at the Wesley Chapel Theatre nearly on campus. If you’re local, come by and see us perform, and contact me to ask what days have the most me in them (the lineup is different each night). As I am the production manager for this show, and am getting ready for a new semester which starts MONDAY (gaah!), this is also why I’ve been a shoddy blogger lately. Anyway, here’s the flyer:
I recently made a post over at the blog on which I write under a pen-name, re: Jack Collom and I writing pass-around poetry at the also-no-longer-with-us Penny Lane coffee shop, so I thought I’d make a post about him here too. His recent passing impacted many of us in Boulder, as he was probably the one who taught us poetry as kids/teens, if we grew up here. Me, I had the honor of having him as a teacher in 7th grade, again in undergrad at CU, and then in grad school at Naropa (which I only went to at his urging), I was mentored by him in the ways of writing instruction. I have his infectious enthusiasm to blame and to thank for my job, then till now.
RIP Jack: may you be yodeling to the angels and spotting which different bird wings they all have.
Here are the pass-around Penny Lane poems I have shared with you all before, lovely lurkers. And no, at this far remove, I don’t have a clear recollection of which lines are mine, which his.
From: ep. 2.1 (and also brought up frequently in the rest of Seasons 2 and 3)
Event (costume): Sherlock, in an attempt to hide his face from paparazzi, grabs a random hat from a costume rack as he leaves a building. It’s a deerstalker. He mutters, “I’m a private detective; the last thing I need is a public image.” The resulting pictures of him in the hat become iconic and famous.
Reference: Though in the canon, Holmes only wears hats like this when in the
country, as is normal for a Victorian gentleman (and the hat is only mentioned in Doyle’s words once, as an “ear-flapped travelling cap”), the most famous image of Sherlock Holmes in global culture is that of his profile in the deerstalker hat (and meerschaum pipe, which is also not from canon). There’s a glorious line in ep. 2.3, when John is admonishing Sherlock about not being careful enough with his fame. He says, “That’s not a deerstalker anymore; it’s a Sherlock Holmes hat.” And he’s right.
Make sure you go back to the previous FitS post, part 1, and read it thoroughly before you read this one. This is my contrasting example to the pointless fight scene that was in the Phantom Menace. It appears at the end of Return of the Jedi. Here it is:
Let’s look at the basics first: this, like the PM fight, is a master and apprentice vs. a solo opponent. What’s that? Oh yes, it is. If you are under the impression that the Emperor isn’t a part of this fight because he isn’t whipping out a lightsaber, that’s where you’re wrong, and that’s also where you’re falling into the same trap as so many storytellers out there, when it comes to fights. The Emperor is a major part of this fight, throughout. In fact, he starts it.
So. 1): Why here, why now, why these characters fighting? What’s everyone’s OBJECTIVE?
It’s quite clear: Luke’s OBJECTIVE: to bring his father back with him. Vader’s OBJECTIVE: same thing, basically: to keep his son here with him, enjoy blissful life in the Dark Side as a family. And our third fighter in this scene, the Emperor? He wants these two to fight to the death. Remember what Vader seems to have forgotten: there’s only a master and an apprentice Sith at any one time. Now for the Emperor, he’d obviously rather have Luke, as he’s younger and stronger with the Force, but hey, if Vader ends up killing his own son, well talk about Dark side, and he’s been a pretty gosh darn good viscount of terror for this many years. Really either way is fine. And no, you don’t have to have read novels or anything to get this from this fight scene–in fact, if you didn’t see any of the rest of the movie, this would still be clear as day.
So, how about 2)? Lots of clear TACTICS going on here, starting with Palpatine’s biggest TACTIC, the one he’s best at: to seduce. Notice that he’s using mainly words in this fight, up until the end, that is. Why? Because WORDS ARE HIS STRONGEST WEAPON! Palpatine has no need to resort to physical tactics through most of this fight. Why? Because HIS VERBAL TACTICS ARE WORKING. It’s his insidious tease and threat to Luke’s friends that spurs Luke to grab his lightsaber and attempt to kill him. And yeah, it’s obvious that that is what he’s trying to do–the way the first move is choreographed makes that apparent. Vader’s objective? To protect his master. Through the first part of that whole fight, every physical move Luke does (after the initial failed one) is to try and get away from his father, so he won’t have to fight him. Kicking him away, only blocking Vader’s blows, jumping up to the catwalk–all these things are attempts to STOP fighting Vader. Why does he start fighting him again? Well, Vader himself pulls out the verbal tactics, to get Luke to come out of hiding and continue the fight. He finds out about Leia, and threatens her safety. This TACTIC works: Luke is overwhelmed with anger and launches himself at Vader, his attacks now vicious.
This is where we see the fight take a major turn. And this is where the biggest fight scene mistake was made in ep. 2 (the ridiculous Yoda vs. Dooku lightsaber fight), when you compare.
Luke accidentally cuts off Vader’s hand. This shocks him, and makes him stop his barrage, remembering what his OBJECTIVE is and how this attack was NOT a TACTIC to get him that OBJECTIVE. Palpatine takes this opportunity to pounce: still using verbal TACTICS, he reveals his OBJECTIVE to the other fighters. He tells Luke to kill Vader and take his place. When Luke turns off his lightsaber, throws it away, and says, “No,” this is the moment when Palpatine’s verbal TACTICS have run out. Then, and only then, does Palpatine resort to physical violence. And he does so in a way appropriate to his character (unlike Yoda vs. Dooku). Does he whip out a lightsaber and supernaturally become agile real quick? No, of course not, that would make no sense. Instead, he uses a physical weapon much more apropos to him: the Force lightning. Luke has no idea this is even a thing, and has no defense against it–all he can do is collapse, screaming in agony. He does have one more verbal TACTIC left in him, though: he calls for his father to help him.
And boy does that TACTIC work: Vader then uses a physical TACTIC to stop the barrage. Because of this balance in the fight scene, it’s my professional opinion that Vader didn’t predict that he’d die from the lightning. It sure doesn’t look like he expected it, but once it was happening, he changed his OBJECTIVE into killing Palpatine, because he knows he won’t survive to collect his previous OBJECTIVE. And thus he succeeds. All of this is crystal clear, not from obscure back story, but FROM THE FIGHT ITSELF.
Not a whole lot of spinning in this fight scene, but what a more compelling, interesting, gripping, and exciting fight this was than the one in Phantom Menace. Well, the music in the other was pretty cool…..