Singing Taylor Swift Songs

Introductions, Gender, and Amplification

Every year in #introguitar (an open online guitar class I teach at my school, and which you should totally enrol in as a non-credit participant) I ask my students and our open learners to introduce themselves and their intentions to the group in a brief video. And rather than rehash a template video of my own from ages ago, I appreciate the opportunity as a student of music to focus my learning about guitar from semester to semester in new video introductions.

In past years I’ve worked to learn skills and techniques around lead playing, band-leading, and performing, documenting my growth in subsequent videos and reflections throughout the year.

This year, I’m taking my work in guitar in a direction slightly away from the guitar itself, and toward the conversation about gender, inequality, and diversity in the wider culture of popular music; I’ve resolved to only play songs written by women.

A while back I read about journalist Anil Dash’s experiment to only ReTweet women for a year, an experience that made him more mindful of the voices he amplified on social media:

Based on my experiences, my recommendation to others is simple: Give it a try. If you’re inclined, try being mindful of whose voices you share, amplify, validate and promote to others. For me, it was giving a platform to women where I wasn’t able to mansplain the things they were already saying, but instead just sharing out their own thoughts in their own words. It may be by issue, or by identity, or by community, or some other consideration.

Troubadours and Teen Idols

Caption courtesy of RadioTexasLive.com

Along with inspiring the mournful western aesthetic of my university days, Ryan Adams wrote some of the first songs I learned on guitar (he also inspired the bad versions of Wonderwall I still play around campfires), and has been an artist that I’ve grown alongside for more than ten years as we’ve each experimented with bands, folk music, and life beyond our devil-may-care early twenties. His work of late has been especially sharp, I think, too; “Gimme Something Good,” and the rest of his self-titled album last year contain layers of guitar excellence and timeless hooks that are among his best.

Last year, word began to spread that Adams had set to recording a cover of Taylor Swift’s recent blockbuster, 1989; my worlds were colliding.

As a guitar teacher in a high school the last six years, I’ve been no stranger to the evolving songwriting career of Ms. Swift. Seldom in my tenure in #introguitar have I walked past an interesting turn of phrase, guitar riff, or chord progression to not be told upon inquiring, “That’s Taylor Swift.” Around campfires and in the park behind my parents house during the summer, the choruses of “Love Story,” and “You Belong with Me” have become generational anthems that are tattooed on suburban boys and girls alike.

There is doubtless something there.

Exhibit A in why I want to start calling #introguitar “Campfire Practice”

A video posted by Bryan Jackson (@bryanjack) on

Pronouns and Performing Gender

As long as I’ve enjoyed Taylor Swift’s tunes – and I have quite earnestly enjoyed them, making them a staple of class guitar playing and pieces to deconstruct as exemplars of composition – I’ve never truly played or performed any on my own. There have always been reasons for this, but I can’t say as though very many are very good.

Sometimes the key is too high, or the melody too…something. Sometimes the dance beat is too difficult to recreate on a single guitar. Sometimes they’re written too explicitly from a female or feminine perspective. None of which in itself is a big deal, but contributes to enough awkwardness that I don’t wind up learning the songs to a degree where I play them for other people.

Historically this has been true nearly across the board, with a few pop songs by female artists making ironic appearances alongside Notorious BIG covers once it’s late enough into the night or the jam. The list of songs written by women that are part of my repertoire is pretty weak, if not non-existant.

On a certain level, this is a matter of taste, sure. Why shouldn’t I play what I like to play? What’s easy to play? That feels like me? However, on another, I share the songs I play with a lot of people; I teach young people about the culture of musicianship, songwriting, and developing one’s own voice, both as an interpreter of other people’s songs, and a writer of originals. To present only my own perspective, or one which makes me comfortable, seems unfair to the myriad ways my students perceive and approach the world, and their music.

This is why I’ve decided to spend my time playing music for school this semester playing and performing songs written by women. I’m not play it ironically, insulating myself from whatever vulnerabilities arise in the performances with humour or distance.

And I’m going to leave the pronouns the same, because if it makes me uncomfortable to sing about Taylor’s “Stephen,” or about “his hands [being] in my hair,” I do enjoy the ability (one might say privilege) of challenging that discomfort so that it’s more acceptable for young men who know all the words to Taylor Swift, or Beyonce, or Lady Gaga’s songs to take the stage and belt it out.

Because these songs weren’t written as larks, or trivial, or silly: they were and are manifestations of tone,  character, and theme. They are expressions of an aesthetic in the tradition of songsmiths, where male voices have been disproportionately taken seriously as a matter of course by virtue of arising from male mouths.

Even Taylor Swift’s own songs became more highly regarded by critics once Mr. Adams had sung them. Ian Crouch at the New Yorker (which reviewed Adams’ record, but not Swift’s) wrote:

If anything, Adams’s version of “1989” is more earnest and, in its way, sincere and sentimental than the original.

There are a bunch of men’s songs I’ve shared and performed and taught the class in the past, and no doubt there will be in future semesters. But not because they’re any more sincere, authentic, or otherwise superior to any woman’s music.

And if that’s the case, I’d like to work to balance my catalogue of songs accordingly.

Apathy & Oligarchy in the Public Sphere

Democracy

Photo courtesy of Filippo Minelli.

This post is part of a serialized collection of chapters composing my recently completed Master’s of Education degree at the University of Victoria. You can access the other chapters on this site here, and access a pdf of the completed paper on the University of Victoria library space here

Two forces at work in North American society at the outset of the 21st century present a troubling prospect for those considering the citizenship education of Canadian youth in an era of digital shock: those of apathy and oligarchy. Research into both the perceived and actual influence of individuals on the political process reveals a body politic that is, even if motivated to effect political change, ill-inspired to participate in the process of electoral politics (Howe, 2007). In the era of the Occupy Wall Street movement (Calhoun, 2013), carbon divestment campaigns at major North American universities (McKibben, 2013), and public demonstrations against austerity measures implemented across Europe (Della Porta, 2015), young people demonstrate signs of being politically engaged and do act in political ways (MacKinnon, Pitre, & Watling, 2007, p. 5). However, in North American contexts, these trends fail to affect significant political change due to downward voting trends and the rise of an influential financial and media elite.

While it acknowledges that “Participating in elections is the essential starting point of any democratic system,” Elections Canada’s own working paper on the Electoral Participation of Young Canadians (Howe, 2007, p. 5) cites a characterization of the nation’s youth as “political dropouts,” building on the dour findings of Ottilia Chareka and Alan Sears (2015) that even though “Youth understand voting as a key element of democratic governance, a hard won democratic right, and a duty of democratic citizenship […], most indicate they do not plan to vote because voting does not make a difference” (p. 521). The paper notes that despite being politically inactive when it comes to voting habits, young Canadians are more inclined toward other forms of political engagement – political rallies, demonstrations, or public awareness campaigns and petitions – that offer encouraging signs that positive change may be possible. McKinnon, Pitre, and Watling (2007) similarly observe that “youth have tended to reframe engagement in more individual and less institutional terms” (p. iii), which may create a more engaged voting block as the millennial generation comes of age.

In the meantime however, available data presents a troubling landscape. Drawing on Election Canada Studies (1997, 2000, 2004, 2006, and 2008), Blais and Loewen (2011) note that “[voter] turnout decline is a long-term phenomenon” and “that this trend is not unique to Canada” (p. 13). The authors observe that “At least two-thirds of new voters would cast a ballot in the 1960s; by 2004 it was about one third” (p. 12), and explore different possibilities leading to such a declining interest in voting, ranging from gender, to marital status, to socioeconomic class and religious affiliation, finding inconclusive data to support a case that any of these factors in isolation could prove the cause of the trend. Similarly, the political contexts affecting youth attitudes toward the democratic process – the tone of campaigns or partisan advertising, the competitiveness of electoral contests, or narrow interests represented by national political parties – fail to yield a singular cause of disenchantment among youth voters. However, “There is ample evidence that the attitudes and values of recent generations are different from those of their predecessors and that this change is in good part responsible for the recent turnout decline” (p. 18).

This disinterest in the franchise of voting itself threatens to amplify the trend Gilens and Page (2014) identify in the United States wherein the political economy has been transformed into (or returned to) an oligarchy, where “mass-based interest groups and average citizens have little or no independent influence” (p. 565). “When a majority of citizens disagrees with economic elites or with organized interests,” they write, “they generally lose” (p. 576). While many are quick to champion the levelling or democratisation that digital tools have brought the global public sphere (see subsequent sections of Literature Review), recent trends in the privatisation of educational resources (Ball, Thrupp, & Forsey, 2010), the revelation of corporate cooperation with government surveillance (Lee, 2013), and the strident defense of private intellectual property that might otherwise benefit the common good (May, 2013) are less inspiring.

Habermas (1991) describes the rise of the period leading to the establishment of our modern democratic institutions as having created the bourgeois public sphere, where “for the first time in history, individuals and groups could shape public opinion, giving direct expression to their needs and interests while influencing political practice” (Kellner, 2000, p. 263). However, the course of Habermas’ Structural Transformation of the Public Sphere (1991) charts “the path from a public critically reflecting on its culture to one that merely consumes it” (p. 175), which aptly describes the findings of the previous paragraph. Kellner notes, however, that “Habermas offered tentative proposals to revitalize the public sphere by setting ‘in motion a critical process of public communication through the very organizations that mediatize it (1989a, p. 232)” (p. 65), a sentiment which underlies the motivation for this project to explore the role that the experimentation with and the discovery of one’s voice within digital spaces might play in the citizenship development of young people, as well as the reclamation of the public sphere.

Indeed, a 2007 synthesis report of the Canadian Policy Research Networks series of papers, entitled “Charting the Course for Youth Civic and Political Participation,” cites schools, “and, more precisely, civics or citizenship education – both in content and pedagogy – as being both a significant cause of and solution for declining political knowledge and skills” (MacKinnon et al., 2007, p. 15). The authors note that “educational institutions, governments, political parties, politicians, the community sector and youth themselves” must collectively engage in the process of citizenship learning, a dynamic process which is not simply an act of “transferring knowledge from one generation to another – rather, it is about embracing youth as co-creators and partners in renewing civil and democratic life in Canada” (p. vi). In concert with the critical framework for citizenship learning outlined here, the report stresses that,

As young people reflect on their civic and political roles, it is clear that many of them must first find their own identity as a Canadian[.] They need opportunities to practice being a citizen – through discussion and debate, at home, in schools and in their own and broader communities. (p. vi)

References

MEd: Project Overview

MEd Final Presentation

This post is part of a serialized collection of chapters composing my recently completed Master’s of Education degree at the University of Victoria. You can access the other chapters on this site here, and access a pdf of the completed paper on the University of Victoria library space here

This project explores the intersection of citizenship and education in the digital age to produce a framework to support learning communities in process on the open web. Throughout, the intention is to cultivate opportunities for students to document the development of their own voice and agency within democratic contexts. Building on research conducted into youth voter engagement and their (lack of) participation in democratic processes, theoretical work around the cultivation of a ‘critical’ citizenship, and recent scholarship in open and digital pedagogy, the unit framework described here seeks to contribute to the creation of a vision for 21st century citizenship learning in the K12 school system. The assignments presented here have been conceived to promote learning that is of the age of the web, not merely on the web. Digital pedagogies are presented as lenses through which learners (students and teachers) can reflect and represent individual responses to existing curriculum generated through classroom activities. Drawing on the traditions of constructivism and an emergent view of knowledge, the project explores the possibilities offered by technology to create opportunities for 21st century citizenship learning.

The project reflects my own learning as a public and networked educator as documented in five years’ work online with a professional blog and social media presence, an experience which has helped form the approach guiding my use of technology to support student-learning. The unit framework shared here is intended to present a conception of teaching and learning for critical citizenship in the digital age on the open web.

Learning in public: The networked professional.

Six years and several thousand posts ago, I began documenting and publishing my life and learning on a public blog and across various social media: Twitter, Flickr, Youtube, Instagram, and others. Despite an undergraduate education in creative writing, and experience with “closed” social sites such as Facebook, I quickly discovered the empowering benefit of publishing my thinking and reflections on both professional and informal learning on the public web. By engaging with a global dialogue about matters educational (as well as political, personal, and otherwise), and gaining a familiarity with the diverse means that allow me to share my voice in these discussions, I have seen first hand the potential for open learning practices to transform one’s professional autonomy, as well as to amplify questions posed in the process of student-driven classroom inquiry. This project reflects my own learning and values about the process of transformation, and presents a praxis of student learning in the unit framework which follows. Additionally, it invites educators to consider their own digital citizenship and identity alongside those of their students.

References

Running, Writing & Living: to Make the Means the Ends

Throwback Friday

This post is part of a serialized collection of chapters composing my recently completed Master’s of Education degree at the University of Victoria. You can access the other chapters on this site here, and access a pdf of the completed paper on the University of Victoria library space here

As it is with running, so it is with writing, and so it is with life, where the joy to be found in each arises from the practice of the thing itself, rather than from whatever the activities are meant to produce. As ink collects on a page, and aerobic breathing and footsteps echo in the local woods, so too have I come to learn that love and joy accumulate in the daily living of life more than in the pursuit of them as external ends. So long as they are not being done to serve some other purpose, outside of themselves, I generally enjoy and in so doing can succeed in these efforts indefinitely. So it is with running, so with writing, and so it is with life.This approach need not, however, ignore the will to strive, to progress, or advance: to grow. It is merely that once these external motivations become the sole and primary objective of these practices – as opposed to merely a by-product of the experiences – it can become all too easy to lose sight of the joy at the heart of the act (however uncomfortable an encounter with a steep hill or blank page may be) that is essential if we are to continue to progress. By realizing this truth of succeeding in the struggles of running and writing throughout my youth and formative education, I have begun to glimpse how best to meet that other intensely personal, often uncomfortable, and naturally rewarding act of living (and learning) itself.

When it is the most fun, after all, I am running not so that I might gratify some purpose not in and of the run itself; I am running for the enjoyment of that time spent running, and so that I might be able to continue to run: so that the most freeing of natural joys in life is available to me, in body as well as mind. When I am enjoying it the most, I am writing not to reap the eventual fruits of the intellectual or emotional labours of reasoning and introspection; I am writing because it is the process itself which brings me into touch with my thinking about myself and my place in the world. Just as in the physical sense with running, writing is an encounter between the self and the world that cannot be predetermined or coerced into existence in advance. Rather, it is the experience that allows my boundary with the world to be defined. Only once it has been so defined does the possibility that this boundary can be transcended come into being.While setting goals or deadlines to motivate myself from week to week or year to year can be helpful in working toward self-improvement, it is this ongoing encounter with the unknown that can most consistently be trusted to lead the way to continued transformation and ongoing personal growth. The outcome, or end, being pursued, in other words, becomes the continuous realization of the means itself: to be able to interpret emerging contexts and plot new courses of action. In striving to achieve this congruence between ends and means, I am reminded of Foucault’s notion of Enlightenment, which should “be considered not, certainly, as a theory, a doctrine, nor even as a permanent body of knowledge that is accumulating,” but rather, “a philosophical life in which the critique of what we are is at one and the same time the historical analysis of the limits that are imposed on us and an experiment with the possibility of going beyond them” (Foucault, 1984, p. 50).

As it is in running, so it is with writing, and so it is with life. And so with life, with learning. In each of these capacities, I have challenged myself to make the means of these pursuits their ends:

  • By running merely to run, asking nothing more of what amounts to tiring, challenging work, I am rewarded with better health and fitness, as well as the ability to continue to test my physical limits into the future.
  • By writing only to write, and letting the words and insights arise (or not) where they may, I retain and hone the craft and habit of exploring and expressing my thoughts and reflections clearly.
  • And by living and learning for its own sake, I continue to seek knowledge and experiences that become wisdom and points for further departures of curiosity into the future.

This realization and focus of my graduate education in curriculum studies has emerged from almost 10 years as an educator, but is grounded in life experience and formative passions of both running and writing that have long-provided me with motivation and means to succeed and progress. Before I was a graduate student immersed in the philosophy of education and learning, I devoted a good deal of time and education to expressing my thoughts in words, earning an honours degree in creative writing and working for my university’s newspaper while I drafted stories and poems and novels in my spare time. I had a poster of Jack Kerouac on my university-bedroom wall, and had become at the age of 20 convinced of the transformative power of the creative arts. Whether in beholding the transcendent enthusiasm of Bruce Springsteen and the E Street Band, Allen Ginsberg, or William Wordsworth, my undergraduate education nurtured a profound faith that such creative expressions could fundamentally transform not only people’s individual identities, but society itself. It is this faith that has inspired me to help students develop this type of critical awareness and ability to communicate: to become the sort of person Apple founder Steve Jobs said could “put a dent in the universe” (Jobs & Sheff, 1985).

Even before I changed my major (from Biology to English), I was a scholarship athlete on my university’s track and field team, competing across the southern and midwestern states against the best middle distance runners in the NCAA. I waged a 10-year battle against the 800m, sweating and grinding tenths of a second from my best times every year from the ages of 14 to 22, and lived to test the boundary of not only my body, but my will. Every race stood as a new opportunity to create a greater effort than that I had previously achieved, where I might defeat an unbeatable rival, or set a lifetime best. Or not. Even when my efforts were unsuccessful, I was discovering The Line, my boundaries, or the limits that I would be trying to surpass the next time out. Having taken the better part of my twenties away from the sport of running, recent years have found me venturing for further and further runs and races in the localwatershed, and I am again developing the taste for exploration at the edge of my physical limitations. In doing so, I have reaffirmed for myself the faith in a process that I think ought be authentically modeled for students we are encouraging to practice the “analysis of the limits that are imposed on us” and to engage in “an experiment with the possibility of going beyond them” (Foucault, 1984, p. 50).

References

Lit Review Twitter Essay

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This is the sort of thing that might otherwise be relegated to an aggregated Storify or series of screenshots. But as this afternoon’s series of Tweets was intended to partially sketch out the main ideas in what will be a much larger – Master’s thesis-sized – work, expanding on some of these points seems well-suited to a longer look here on the blog.

While not generally considered the forum to share and discuss more substantial themes or ideas, I’ve noticed more and more of the people I follow using part of the natural functioning of Twitter to follow through with some of their longer-form thinking.

One of the pioneer’s of the form, Jeet Heer published a spin on one of his essays in the Globe and Mail last fall, noting this popular conception:

6. With strict 140-character limit & cacophony of competing voices, Twitter seems like worst place to write an essay.

7. To critics, a Twitter essay is like life-size replica of the Eiffel Tower made from chopsticks: perverse enterprise.

But he went on to enumerate the ways in which Twitter might be the perfect venue for such thinking:

14. With a properly focused topic, a set of tweets allows you to ruminate on a subject, to circle around it: to make an essay.

15. An essay in original French meaning of term is a trial, an attempt, an endeavour: a provisional thought about something.

16. At the very root of the essay form is its experimental and makeshift nature. An essay isn’t a definitive judgment but a first survey.

17. The ephemeral nature of Twitter gives it a natural affinity with the interim and ad hoc nature of the essay form.

18. A Twitter essay isn’t really an argument; it’s the skeleton of an argument.

19. Tweets are snowflake sentences: They crystallize, have some fleeting beauty and disappear.

20. To write snowflake sentences is liberating: They don’t have to have the finality of the printed word.

21. Fugitive thoughts quickly captured.

This last point may perfectly characterize the difficulty of attempting to synthesize what has been more than a year of wide reading on a variety of loosely interrelated topics, bound together in many ways only by my own ability to connect them (if this is truly the purpose of academic study): to begin to write about these readings and plot our next steps forward as a grad cohort, we are engaged in the pursuit of such fugitive thoughts. 

As an exercise in collecting my thinking on a year’s work, I set out to form the basis of my thesis in a few posts:

Screen Shot 2015-03-29 at 3.47.05 PMWhile the ‘elevator pitch’ for the thesis begins in a few different places – critical pedagogy, Enlightenment thinking, or youth voter apathy – these ideas became today’s point of origin, and together might constitute something of an introduction to what I hope will serve as a research project.

It might begin something like this:

Citizenship in a pluralist democracy requires the cultivation of skills and dispositions that allow for an ongoing constructivism of more and more diverse perspectives within a collective identity. Multiculturalism is the natural extension of emergent epistemologies which draw on both critical and transformative pedagogies. 

There are a number of scholars’ work who have led me to the drafting of such a sentiment, chief among them Deborah Osberg and Gert Biesta, Paulo Friere, and Gregory Bateson.

Osberg and Biesta’s inquiry into whether a truly emergent epistemology could be possible in schools has concerned a great deal of linked text published to this blog in recent years:

Paulo Freire also figured largely – as he tends to – in my ongoing research into a pedagogy that might help bring about such an emergent constructivism:

And each of these threads culminates in the transcendent quality which Michel Foucault places in Enlightenment itself, which he called a “critique of what we are” and an “experiment” with going beyond the limits “imposed on us,” bringing about the paradigm shift which resets Freire’s critical praxis. Gregory Bateson (and Daniel Schugurensky) exnten this thinking and discuss the political and cultural necessity of working toward transformation as an ongoing process.

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Here we might continue in an academic voice:

However, the public institutions charged with producing and maintaining a citizenry that values emergence, and practices critical transformation are caught in something of a paradox as they intend to produce something which necessarily must be composed out of a fluid and ever-changing constituency. 

Not only are schools tasked with cultivating a curriculum which orients itself toward the production of that citizenry, but the broader socio/political/economic culture must be constantly reevaluating and defining just what that citizenship itself is seen to represent.

As institutions, they are faced with the reality of developing targets; yet a certain amount of recognizing aims within an emergent system means drawing the target around the shot that has been taken. 

Within a Canadian context, a multicultural constitution creates the (apparently) unresolvable tension between inviting and encouraging greater and greater diversity along with the generation of unifying symbols and experiences. A multicultural nation is one that is perpetually becoming, making the notion of citizenship (not to mention the form and function of the institutions charged with imbuing the younger generation with a sense of that citizenship) elusive.

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To confront this inherent tension Sigal Ben-Porath presents a notion of citizenship as “shared fate,” which “seeks to weave the historical, political and social ties among members of the nation into a form of affiliation that would sustain their shared political project.”

Again:

Ben-Porath describes “citizenship as shared fate” as a form of critical citizenship within which “the vision of the nation as a stable, bound and tangible group” might be overcome. For Ben-Porath, civic learning for citizenship as shared fate includes acquiring:

  • Knowledge of fellow citizens,
  • Skills to interact with them, and
  • Attitudes that can facilitate shared civic action.

Such a conception of civic learning echoes the emancipatory praxis of Paulo Freire, for whom the ability to “transform one’s reality” was paramount in realizing freedom from oppression. 

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In terms of researching answers to these questions, I am fortunate to work with three different groups of young people that cover a broad spectrum of our school’s high school experience. Between our grade nine/ten gifted cohorts learning in a district-funded program and with access to a unique curriculum and ample classroom technology, a senior-level Philosophy 12 course that has functioned as an open online course now for more than three years, and the grades 9-12 elective #IntroGuitar course, public digital spaces and social media support various processes related to civics learning and students’ honing of their own conception of their individual and collective citizenship.

I am curious to see how these questions might be explored within and around these communities of practice – among students, teachers, and potentially parents or open online participants who are brought into the fray. As well, I am excited at the possibility such a collective inquiry might offer the creation of a lasting forum of autonomous voices coming together in the shared space of the public web.

With Hemingway

Ambos Mundos

Italy, Spain, Cuba – half the world is filled with the places that he appropriated simply by mentioning them. In Cojimar, a little village near Havana where the solitary fisherman of ”The Old Man and the Sea” lived, there is a plaque commemorating his heroic exploits, with a gilded bust of Hemingway. In Finca de la Vigia, his Cuban refuge, where he lived until shortly before his death, the house remains intact amid the shady trees, with his diverse collection of books, his hunting trophies, his writing lectern, his enormous dead man’s shoes, the countless trinkets of life from all over the world that were his until his death, and that go on living without him, with the soul he gave them by the mere magic of his owning them.

Gabriel Garcia Marquez Meets Ernest Hemingway

Last week I was fortunate once again to travel to the island of Cuba and visit the Ambos Mundos hotel and bar that once housed Ernest Hemingway before he purchased and moved to his estate Finca de la Vigia. His first Cuban home, Hemingway began writing For Whom the Bell Tolls in room 511 at the hotel in the heart of Old Havana.

Havana Daytrip

When I graduated from university, my sister and I spent the following summer working at a Boy Scout camp in the Ozark foothills, and made a pact to read nothing but Hemingway for the balance of our time at the camp and en route back to Vancouver. He and I shared a birthday (July 21), and as a creative writing student I had learned from professors with deep affections for authors I hadn’t yet digested: among them Hemingway, William Faulkner and Gabriel Garcia Marquez. At the outset of my life beyond school and what promised to be an adventurous summer – my sister and I would leave the summer camp after six weeks in the woods to fly north and road trip across Canada – we seemed to have been presented a fitting venue to finally set teeth to Papa’s ouvre.

I had started For Whom the Bell Tolls before M. got off the plane with her copy to To Have and to Have Notand we marched forward from there:

I finished For Whom in a tent in Molena, Georgia, at a National Certification School for the Boy Scouts.

A Farewell to Arms, and Green Hills of Africa were read mostly near the scout camp pool in Damascus, Arkansas.

I read To Have and to Have Not in the tent that was my home that summer.

Islands in the Stream went down riding the train from Montreal to Toronto.

There were others, of course: The Sun Also Rises, Old Man and the SeaA handful of short stories: “The Killers,” “Hills like White Elephants,” “A Clean, Well-Lighted Place,” and others. And by the time we crossed the continental divide, Hemingway’s protagonists and prose had enveloped the colour and tenor of our adventure.

View from Ambos Mundos

At twenty two years old, and newly graduated with a degree in creative writing, our summer in the woods and the ensuing journey home represented the discovery of an all-too-enourmous canvas upon which to paint my sister’s and my lives. Saying goodbye to intense and short-lived friendships, taking on the struggles of life outdoors, travel, not to mention fears about what lie ahead in terms of what I would do with my college education, Hemingway’s plots and conflicts provided a matter-of-fact commitment to the rough, sad, beauty of life.

In Niagra Falls, on the first afternoon of our trip, we found just more than $117 in our shared savings account, and more than 3000 kilometers between us and home.

Outside of Thunder Bay we drove into the darkening night and creepy dirt-road northern towns looking for a place to pitch our tent.

And upon arriving home, we learned that our mother had been diagnosed with cancer (which she would eventually beat).

Each of these difficulties was embraced with Hemingway’s words ringing in our ears: “The world breaks everyone, and afterwards many are strong at the broken places.” And as we crested the rocky mountains and entered again the lush and coastal climes of British Columbia, we had come to see ourselves as characters as large in life as the continent we had just crossed. There was little need to express this grandeur in hyperbole or poetry, however; the stark terms of Hemingway’s words created a notion of quiet heorism that was somehow the least any of us could do with our minute lives.

Papa's CornerYears before I would begin teaching a high school course in philosophy, Ernest offered a view on the good life I could embrace: “So far, about morals, I know only that what is moral is what you feel good after and what is immoral is what you feel bad after.”

In the years since I’ve been guided by other artists, and other authors: Bob Dylan, Garcia Marquez. Springsteen. But in the spirit of Dylan, “I remember every face, of every man that’s brought me here,” and to stand in Hemingway’s lobby, and turn the knob on the door that he slept behind, is to touch something intangible that has profoundly shaped my life as an adult.

Last fall, I read The Dangerous Summera disappointing visit with an aging author in which his lesser qualities run too close to the surface: his infatuation with the brutal “beauty” of bullfighting, chief among them, perfectly representative of the shortcomings in his work around his own image, as well as masculinity and misogyny. But even while acknowledging these shortcomings, the ripples that he made with his mind in the world demand to be reckoned with, if only for me personally as someone who his work  has profoundly touched and influenced.

Sipping an icy lemonade in the lobby bar surrounded by pictures of a formal idol, a depressed man (along with fellow 21st’er Robin Williams) with whom I share a birthday, what he had created in his mind’s eye and invoked in my own imagination became real once more.

I was able to breathe its air, and touch its humid surfaces. To know that it and the life I had conceived in my mind as a young man are in fact still real.

Education for Citizenship as Shared Fate

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A theme in liberal democracy which presents a challenge for citizenship education is the tension created between recognizing difference and diversity in society alongside the development of a shared cultural foundation. This tension has been highlighted on numerous occasions on this blog in the citing of work by Deborah Osberg and Gert Biesta, who note that “In contemporary multicultural societies, the difficulty with education as planned enculturation lies in the question of who decides what or whose culture should be promoted through education.”

They write:

“If we hold that meaning is emergent, and we insist on a strict interpretation of emergence (i.e. what emerges is more than the sum of its parts and therefore not predictable from the ‘ground’ it emerges from) then the idea that educators can (or should) control the meanings that emerge in the classroom becomes problematic. In other words the notion of emergent meaning is incompatible with the aims of education, traditionally conceived.”

To address this tension, Sigal Ben-Porath presents the notion of “Citizenship as Shared Fate,” which “seeks to weave the historical, political and social ties among members of the nation into a form of affiliation that would sustain their shared political project.”

This view of citizenship as shared fate seeks to overcome “the vision of the nation as a stable, bound and tangible group,” and recognizes citizenship in

“the visions, practices and processes that make up the civic body through engaging individuals and groups in the continuous process of designing, expressing and interpreting their membership in the nation.”

As individuals share a number of aspects of civic or political life – relation to institutions or organizations, laws, history, language and artistic expression, as well as understanding of the national ethos, symbols or myths – shared fate citizenship seeks to balance tensions between representing diverse values and cultures and developing a shared public sphere. This creates a natural need to cultivate the skills and aptitudes required to participate in it.

This sense of an educative culture echoes John Willinsky, who talks about how “the democratic culture of [our] country is dependent on the educational quality of our civic lives,” and connects back to the central problem of how best to arrange institutional schooling within such a multicultural liberal democracy. Ben-Porath presents shared fate citizenship as “a relational, process-oriented, dynamic affiliation that arises from the cognitive perceptions of members.”

Ben-Porath’s view of citizenship as shared fate is congruent with the democratic ideals for public schooling put forth by John Dewey, who may be seen to elucidate the tension in liberal democratic schooling by seeking institutions which:

  • Transmit the facts, dispositions and cultural heritage society considers to be of value; and
  • Raise a younger generation with the skills, persistence and ingenuity to transcend our historical moment.

The idea of a “relational, process-oriented” and “dynamic affiliation” connects similarly to the critical praxis outlined by Paulo Freire in Pedagogy of the Oppressedwhere he outlines the idea that:

It is as transforming and creative beings that humans, in their permanent relations with reality, produce not only material goods— tangible objects—but also social institutions, ideas, and concepts. Through their continuing praxis, men and women simultaneously create history and become historical-social beings.

For Ben-Porath, civic learning for citizenship as shared fate includes acquiring:

  • Knowledge of fellow citizens,
  • Skills to interact with them, and
  • Attitudes that can facilitate shared civic action.

The goal in this view is to create “schools that build a shared civic sphere as well as rights and well-being of individuals whose experience varies based on their membership in different groups.” However, she is careful to distinguish the more broadly conceived “education for citizenship,” or “citizenship education” from the more skills-oriented or curricular-based “civics education,” as shared fate relies on a more emergent view of citizenship that a particular set of knowledge or skills to be transmitted.

Following Rob Reich’s idea that “schools offer the ideal place to unite citizenry and generate a socially-constructed national model,” Ben-Porath acknowledges this as a challenge for multicultural societies in general and their schools in particular, realizing Osberg and Biesta’s question of whether such an emergent conception of meaning is even possible within an institution which must – on some level – generate ends prior to engaging in the means by which meaning is to be made.

Indeed, the generation of a conception of citizenship as an identity that overrides or seeks to nullify significant differences between minority and majority groups defies a liberal democratic commitment to pluralism.

As a means of confronting this contradiction, shared fate regards citizenship in three ways:

  • The ways in which citizens relate to one another,
  • the ways in which citizens relate to the nation state, and
  • connections citizens make to the national community, institutions and practices.

Thus citizenship education introduces “the evolving social and institutional contexts in which citizens live and develop an understanding of the culture, cognitive, and discursive dimensions of national membership.”

In brief, this could be stated as an ability to learn about learning, itself, or meta-cognition. But it is also an act of collective storytelling, and a process of recognizing our diversity and making sense of a shared history (and identity) together. Such a synthesis of a shared story has both responsive and aspirational qualities, and as such requires “future-oriented development of civic virtues,” as well as attention to “the lives experiences of children.”

Here we see again perhaps the pertinence of Freire, whose critical praxis seeks to acquaint learners with their culture’s generative themes. “To investigate the generative theme,” he writes, “is to investigate the people’s thinking about reality and people’s action upon reality, which is their praxis.”

He continues:

“For precisely this reason, the methodology proposed requires that the investigators and the people (who would normally be considered objects of that investigation) should act as co-investigators. The more active an attitude men and women take in regard to the exploration of their thematics, the more they deepen their critical awareness of reality and, in spelling out those thematics, take possession of that reality.”

For Ben-Porath, citizenship education “seeks forms of attachments, belonging and commitment that would enable children to become positive members of diverse communities of fate.” In liberal democracies, citizens differ in countless ways – political ideology, religious practice, ethnicity, etc – but are bound in an overlapping experience of national laws, institutions, symbols and myths. However, individual views of these common experiences may differ based on unique combinations of contexts.

Here, shared fate:

“aims to recognize differences in values, outlooks, language and preferences while developing institutional and conceptual concepts – particularly civic and political ones – in which different communities can develop ties and shared practices.”

And in this view, education for the benefit of such citizenship serves as an “introduction of and induction into a shared political sphere,” where students develop competence and experience as interpreters and creators of meaning in the national community.

Identifying a Research Problem

Research Query

Identifying a research problem consists of specifying an issue to study, developing a justification for studying it, and suggesting the importance of the study for select audiences that will read the report. 

John W. Creswell

While it acknowledges that “Participating in elections is the essential starting point of any democratic system,” Elections Canada’s own working paper on the Electoral Participation of Young Canadians cites a characterization of the nation’s youth as “political dropouts,” building on the depressing findings of Ottilia Chareka and Alan Sears, that even though

“Youth understand voting as a key element of democratic governance, a hard won democratic right, and a duty of democratic citizenship […], most indicate they do not plan to vote because voting does not make a difference.”

Additionally, the perils of such a disinterest threaten the creation of a trend Gilens and Page have identified in the United States as having transformed the country [back] into an oligarchy, wherein “mass-based interest groups and average citizens have little or no independent influence.”

Taken together the two ideas present the nexus of an area of research my recent work and experience lead me to consider, as it offers a unique insight into a vital phenomenon. As the author of the Elections Canada working paper, Paul Howe observes that “a lower voting level among the young could simply represent an increase in the number of intermittent non-voters and/or a decrease in the incidence of voting among young, intermittent non-voters.”MA Doodles

He adds,

“The notion that today’s young people need particular support and encouragement to take up the habit of voting is an important one. To better understand these processes, further research focusing on political socialization dynamics in late adolescence (when young people are approaching or reaching voting age) would be valuable.”

In the last many months, I have considered the problem of my upcoming graduate inquiry as an opportunity to explore this application of public education, sensing the intersection (though perhaps collision would be more appropriate) of Canada’s democratic traditions with the lauded Digital Age and the school curriculum itself. Working as I have (and continue to) with various unique cohorts in blended digital and face-to-face environments, as well as beyond formal instruction in a variety of informal or extra-curricular settings, my spheres of interaction with young people presents what Howe describes as an area for future research:

“Conducting research in the high school setting has the advantage of providing access to all segments of youth society, including the most marginalized, indifferent and/or disaffected, who often cannot be effectively targeted once they have left school.”

Something I’ve quoted often as a guiding principle in my work over the last many years is Gert Biesta’s notion that

“Young people learn at least as much about democracy and citizenship – including their own citizenship – through their participation in a range of different practices that make up their lives, as they learn from that which is officially prescribed and formally taught.”

In his graduate work [highlighted recently on CBC’s IdeasDavid Moscrop highlights a problem in applying the workings of the “lizard brain” to the complexities of modern democracy: “It’s about messaging and name familiarity. And it reflects our MA Doodlesown vulnerability to being manipulated — which is why attack ads work and sound bites work.” Such a revelation echoes Habermas, who described a degraded public sphere as one co-opted by media and political elites who manipulate public opinion to their own ends.

In confronting this emerging civic reality, my own interest in curriculum adjoins the prospect of critical pedagogy as a means of instilling young people with an emancipatory praxis that allows them to enact and create their own freedom. This tradition of scholarship includes the likes of John Dewey, Paulo Freire, as well as Michel Foucault and Gregory Bateson, but also recent the recent theorizing of Stephen Downes, Bonnie Stewart, Jesse Stommel and Gardner Campbell.

Following from Freire, a critical perspective on one’s “generative theme” is central to an emancipatory education:

“To investigate the generative theme is to investigate the people’s thinking about reality an people’s action upon reality, which is their praxis. For precisely this reason, the methodology proposed requires that the investigators and the people (who would normally be considered objects of that investigation) should act as co-investigators. The more active an attitude men and women take in regard to the exploration of their thematics, the more they deepen their critical awareness of reality and, in spelling out those thematics, take possession of that reality.”

When broadened to include the evolution of the public sphere presented by the burgeoning Digital Age, the means by which these themes and power-relationships are forged has expanded beyond traditional print and broadcast media to include a panoply of personal publishing technologies that continues to mediate power relationships in new and daunting ways. It is a time fraught with both possibility and peril.

So we can see that as Gardner Campbell posits the creation of personal cyberinfrastructure, Audrey Watters wonders about the peril of bringing our face-to-face cultural inequalities online:

“What percentage of education technologists are men? What percentage of “education technology leaders” are men? What percentage of education technology consultants? What percentage of those on the education technology speaking circuit? What percentage of education CIOs and CTOs; what percentage of ed-tech CEOs?

“Again: How do these bodies — in turn, their privileges, ideologies, expectations, values — influence our education technologies?”

In my work with young people I strive to create learning opportunities meant to instill a reflective critical praxis emblematic of the type of citizenship engagement necessary for democracy to exist. Many of these learning opportunities are conducted in a blended digital and face-to-face environment, and utilize open digital practices intended to leverage the participatory practices essential to both the success of the web, as well as democracy itself.

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In two cohorts of identified gifted learners in the Coquitlam School District’s T.A.L.O.N.S. Program, each of our 56 students charts the course of their development in an experiential, interdisciplinary learning environment through an individual blog, and a variety of digital artifacts shared and archived across a class-wide network of posts.

For the last three years, I have taught a Philosophy 12 class which has operated as an open online course for non-credit participants that have variously contributed to the course community by submitting their own assignments, offering feedback or dialogue in the form of comments on the course site, or by extending the reach of the class’ discussions on social media.

In each of these communities, the creation of learning artifacts on class sites provides the current students the opportunity for reflection and synthesis of their learning, as well as a lasting example of socially documented inquiry for future cohorts, and those beyond the community itself on the open web. This principle comes into clearer relief in an Introduction to Guitar 11 course I’ve taught for several years that has evolved over time to provide an opportunity for open online participants to join and contribute to and learn along with a class of musical beginners. It is, in the words of open online stalwart Alan Levine “not a class that teaches guitar, but one where you can learn guitar.”

By examining the generative themes brought about through the reflective practices afforded in these various learning spaces, I am hopeful that my inquiry might offer a meaningful contribution to the body of knowledge concerning young people’s emergent sense of their own citizenship and agency in our democracy.

Blog as Prologue

Evening Meeting

Upon completing my undergraduate education, I toyed briefly with the idea of heading directly into my Master’s, though at the time it would have likely been in American literature or an MFA program in fiction writing than the course I’m currently following. Then again during my course work to obtain my teaching certificate, I considered accepting the invitation of one of my professor’s to pursue a doctorate in Fine Arts Education.

However, apart from the timing and other opportunities that kept me from continuing my studies at either of these junctures, I knew in the back of my mind that I would be best suited to continue my formal education if I were able to bring a crystallized vision of why my studies would be of value – to me or anyone else. Ever charmed by a holistic philosophy, I often do my best work when that work can intersect with personal passions, causes and ambitions.

My graduate studies would organically come to pass as my theories and practices – in life as well as work – came more clearly into focus and alignment with one another, as I am confident to say that they have of late.

This process, almost in its entirety, has evolved and emerged in some two hundred and seventy posts which find themselves in the pages of this site. In striving to define my own minute corner of the universe, my hope all along has been to register my perspective among the collective narratives of the communities to which I belong.

Back in 2009, I began this site by asking What is School’s Job? and invoked a Nabakov quote that has inspired me to explore and document my own perspective in the posts since, as well as my burgeoning graduate degree:

Indeed, this subjective life is so strong that it makes an empty and broken shell of the so-called objective existence.  The only way back to objective reality is the following one: we can take these several individual worlds, mix them thoroughly together, scoop up a drop of that mixture, and call it objective reality

Whether in blogged reflections, artistic challenges, or academic work, it is contributing to this conception of greater human knowledge and objectivity that continues to inspire me to push publish, and share my thinking with a wider audience. In the intervening years since that initial post, I’ve come to have a clearer sense of where my perspectives on educational theory and practice might best be put in the service of our shared educational reality, and have been doubly inspired by my initial graduate studies to expand my perspectives on each.

In considering the intersection of cultural epistemologies, ethics and social and political philosophy that constitute curriculum studies, I have come to focus on aspects of learning design and student ownership and engagement with learning through the lens of citizenship education. However, even as these interests have sprawled in the last several years, I have been driven to see them coalesce around the type of “simplicity of cause” that Ralph Waldo Emerson discusses, wherein “There is at the surface infinite variety of things; at the centre there is simplicity of cause.”

In documenting and reflecting upon outdoor education, collaborative inquiry, classroom discussion, digital media or learning through the arts, I’ve found these complexities to be grounded in the view that democratic freedom depends on a broadly engaged citizenry. Such a broadly engaged citizenry demands that schools provide students with experiences in constructing their individual and collective perspectives on community, thereby learning to better contribute as individuals to those communities.

Such a focus provides an ample platform to go about forming a problem statement for my Master’s research, as well as directing a question toward addressing it in future posts and papers. However, while each new representation of these questions, theories or experiences contains the potential for what yet may come, it stands among the prior formulations of itself, and in these multitudes is contained the essence of my thinking.

As a jumping-off point as I set out to synthesize my own thinking on citizenship education, it is important to consider the course of experiences which have brought me here. And by briefly tracing this arc of narrative learning, I hope to bring the larger themes of my own research and experience to bear on the discussion going forward.

Back in 2010, replying to a staff email thread at my school on the nuisances of cell phones, I argued for the citizenship benefits to technology in the classroom:

“It is not a matter of banning cell phones, or even giving them a constant working purpose in our classrooms (such that they are not idle and hence a distraction, or even to meet students “on their turf”), but rather, a focus on raising learners – and to continue in Broadbent’s vain: citizens – that exist within the emerging fluidity of the 24/7 social media cycle, and yet are empowered by its capabilities to unite, and connect, rather than cowed by its vapid and addictive lesser qualities.”

Reflecting on the merits of outdoor education a year later, I highlighted the ability of experiential learning in the woods “to provide experiential lessons in:

  • Realizing that we are a community.
  • Experiencing our place in the (local) natural world.
  • Learning self-reliance and accountability.
  • Living in the moment.”

While I wouldn’t be reading the paper for three more years, it is interesting to see the intersection of many of the notions expressed in this post with Daniel Shugurensky’s ideas about citizenship learning which

“generate[s] public spaces of social interaction in which discourse is based on finding agreement, welcoming different points of view, identifying the common good in a myriad of competing self-interests, searching for synthesis and consensus, promoting solidarity, and ultimately improving community life.”

In 2012, the opportunity to engage in my own community of practice at the Unplug’d event in Algonquin Park provided an opportunity to engage in my own experiential learning about the creation of an educational culture indivisible from the shared perspectives of a community of individuals.

On Saturday afternoon, my editing group of Donna Fry, Marci Duncan, and Gail Lovely sat on yoga mats in the upstairs studio of Points North, and I played them the opening verses of the song. We had saved the song for our last edit, and had spent the day  up until that point contextualizing the meaning of each of our letters through the stories we had told one another and our emerging reflections on what the experience was teaching us. Jowi Taylor was gracious enough to let me enlist the powers of Voyageur in the composition, and he joined us for a conversation about authenticity, and truth, and the role of music, metaphors, and symbols in our collective storytelling while I sat cross-legged with the guitar in my lap.

Like each of the songs I played on Thursday night, “Carrying Stones” turned out to be a collaboration, like all art and stories are, really. Jowi and Voyageur gave me most of the words in the third verse.

Building on my Unplug’d experiences, the work I was doing in my own classroom(s) became more and more oriented toward an aspect of digital citizenship I have come to see as an area of potential when looking at technology in learning: openness.

“whether it’s blogs, wikis, podcasts or campfires; videos, GIFs, or walks in the woods, the story of human progress, and knowledge, is about learning to adapt to these “breaches in the weave of contextual structure,” something that the Internet has brought us in spades. That we should be using it to capitalize on the greatest capacities we possess – creativity and self-expression, community-building and collaboration – seems the most genuine of purposes for classroom learning to take on, and something I’ve found in educational opportunities that thrive because of an attitude of openness.”

It is this ethos of openness and participation where I see my areas of focus and scholarship being of value, as my work in a variety of learning environments has offered a glimpse of enthusiastic cohorts of young people exploring and reflecting upon unique courses of study. As Simsek and Simsek note, the “democratic values needed for the citizenship are not different for new literacies. Many democratic values could be acquired by new literacies.” In fact, they point out that “New literacies are prerequisites for digital citizenship.”

Whether in the gifted cohort I team-teach in Coquitlam, the open-online Philosophy or Guitar courses I facilitate, or broader contributions I have offered to the digital and face-to-face experiences of my students and colleagues, I feel uniquely poised to chart a course of personal and collective development of ideas about citizenship in my corner of the world. And it is here that I would like to begin my Master’s research.

In future posts, I plan to chart and document the evolution of this scholarship as an extension of the prologue offered here.

Rising to meet the Eminent Speech

Eminent Speech Evaluation

Almost without fail, the Eminent Person Speech reigns supreme as the element of the annual project that produces – in the estimation of teachers, peers, and self-assessment – the highest quality work. While there are inevitably remarkable pieces of work contributed to various aspects of the study, whether in Night of the Notables learning centers, interview coups, or blogged representations of learning, and in grade nine or ten, the Eminent Speech rises above.

This year, when polled on the During which assignment do you feel you created your best work?aspect of the study during which they produced their best work, a full 60% of respondents (at the time of this writing, constituting about 85% of the two classes) highlighted their efforts to craft their speech.

Added to this insight, a follow up question asks the TALONS to “describe the process that led to the success highlighted in the previous question,” allowing the process leading to this highly successful aspect of the study to come more clearly into light.

A surprise finding? The best work is the result of tireless effort.

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Prepare, prepare, prepare

A grade ten describes their preparations:

I made sure to write my speech early on so that I had plenty of time to practice it. I practiced it until I knew it inside and out, so that I could recite it no matter what was going on. And having done that, when it was finally my turn to present, I wasn’t nervous at all.

Another thing that really helped was that a lot of the other tens took time to read my speech and help me edit it in the early stages. They guided me to what lines were a little awkward and how to fix my body motions.

Another ten offers the following:

First of all, this year I wrote my speech draft much earlier than the due date compared to last year. Due to this fact, I was able to receive a lot of great feedback from my peers during the writing process, which then allowed me to improve my speech even further. Once my draft was written, I was lucky that I had a lot of time to rehearse my speech. One step that led my speech to success during this stage was that I didn’t just rehearse the words, I also rehearsed body language and movement, and the use of the stage.

A grade nine dissects their drafting process further:

When I was writing, I didn’t limit my thoughts, writing down everything I wanted to include in the speech. By doing this, my speech originally was actually fifteen minutes long. I then took the time, with the help of my mom, to cut down the speech, take out details that weren’t needed, and rephrase events. I think that by writing down every single thought and event that occurred within the period of time the speech was focusing on, I was able to make the speech more thorough and interesting.

As does this one:

I believe it was the drafting process that led me to success on my eminent speech. I did a drafting process where I started writing, then got a better idea of what I wanted to say, and then I would start over. I did this until I didn’t quite start over, but edited previous parts until I was satisfied by the whole thing.

While this grade nine shares the evolution at the heart of his character’s metamorphosis:

During the process of writing the speech, I made a list of points that I wanted to include. After the first draft, I was struck with the idea of the extended metaphor of the caterpillar. I then wrote the second draft, taking the components of the first and smoothing it out. Finally, I edited and revised my speech to create more fluidity.

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Overcoming Fear

For many TALONS, the prospect of delivering an eminent address, whether in the classroom as the grade nines are asked, or on stage with the grade tens on Night of the Notables, is a daunting challenge. As Jerry Seinfeld humourously notes, for many of us public speaking is more popularly feared than death, meaning that “to the average person, if you go to a funeral, you’re better off in the casket than giving the eulogy.”

A grade nine offers this reflection on overcoming a longstanding fear:

I believe my speech was my best work because it was the one I exceeded my own expectations the most in. I used to be quite an abhorrent public speaker, always getting overly nervous, shaking, mumbling, and having a monotone; but in this speech I was able to overcome my nervousness and actually deliver it satisfactorily.

The key to overcoming this anxiety? Revision, feedback, and support:

“I think my speech content was pretty good, considering that it went through six drafts and many, many people gave me feedback.”

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In another question, the same TALONS learner reflects on the contributions of a patient parent:

“My dad, along with giving me feedback on many of speech drafts, put up with me reciting my speech over and over in the days leading up to November 24th. Without his patience with me, giving me feedback and listening intently during the many, many times I recited my speech to him, I wouldn’t have had nearly as good a speech as I did. He gave me important pointers, such as where I started rushing, and he gave me confidence. With that confidence, I was able to deliver my speech well.”

A grade ten reflects on the input of a sibling:

“My brother contributed with helping me write my speech. Before I had written a draft that I was happy with I had written about five different speeches. But I hated them all because I didn’t think I was getting my main message across to the audience, namely that we shouldn’t stop because something is hard to do, that we should keep going until it becomes easy to do.

“One day I went to talk with my brother about my speech and how I wanted the audience to feel, and he suggested that I go for something powerful and try to address what [my eminent person] goes through as daily obstacles. This advice really helped me take a second look at how I was writing my speech and which side of [them] I wanted to show. Without my brother I wouldn’t have been able to re-think my speech and really focus on what was imported.”

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Another deals with overcoming a primal fear:

“Probably everyone out there knows that I do not like speeches, so even the fact that I did mine made me extremely happy.

“The writing process was extremely difficult. After changing perspectives three times and either going way over or way under the time limit, I was close to admitting defeat. Finally, I was happy with a fifth draft of my third perspective change. I was very happy with my written speech, but then came the delivery.

“Presenting my speech was probably the most nerve wracking five minutes of my life, but with the help of my friends, I managed to get through it. Before my speech started, I gave myself some goals and guidelines to follow. I reminded myself that, having not done many speeches in my life, this was not going to turn out perfect, so instead of worrying about that, I would focus on eye contact and pacing.

“My biggest goal was to come off as confident and though I’m sure more people knew how nervous I was, I believe that I was able to reach this goal (well, at least to some extent). While I’m still not ready to perform speeches without any hesitation, I’m glad I got this opportunity to face my fears.”

In responding to another question, a grade ten offers a similar account of working through the fear of performing at Night of the Notables:

What will you (or do you want to) remember about this project? 

“I want to, and will remember the fact that I was able to manage my anxiety regarding the presentation of my speech on the Night of the Notables. I have never liked drama and performing arts, which is somewhat contradictory when you take my commitment and love of [competitive] piping into account. I can will myself to march calmly towards thousands of spectators, flashing cameras and judges at the world championships. Yet, when I have to deliver a two-minute speech to a hundred supportive and encouraging people I’m a wreck. When I perform with my band, I have a safety net; I have never needed it but I know it’s there. When I speak or play by myself, even if it’s exponentially easier than what I do with my band I doubt myself.

“I don’t give speeches in front of large audiences often, but I compete in solo piping competitions often and I have come to recognize the progression and stages of my anxiety. I have been working on becoming more comfortable in these situations for over a year and I think the Eminent Address was an important milestone for me. I was extremely nervous a few days before the night, but I was able to tell myself, ‘You always feel this way before something like this,’ and ‘Imagine how you will feel on December 4th’ and I was able to control my anxiety and give a speech I was happy with.”

Together, we are strong

Perhaps the theme running beneath all of this wild success though is the support and community that is taking shape in the TALONS room by late November, where each member of the class is learning that they are here to test themselves, and hold one another up above their prior expectations. Parents who get to see what the program is ‘all about’ for the first time at Night of the Notables often remark at how exceptional the grade ten addresses are – “I feel totally inadequate now,” the parent of an alumni told me this year – and wonder how it is their children and their peers have been so transformed.

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What they don’t know, or what cannot be seen, is what is often taking place behind the curtain, in those moments before the show, when greatness waits out on the stage under the lights to be seized.

Reflecting on this moment, a grade ten shares a glimpse of what community looks like:

“There was one moment when we were behind the stage, floating around and whispering encouragement to our peers. The atmosphere had become quiet and focused, as it was a couple of minutes until showtime. I was learning against a wall, breathing deeply.

“Our first speaker looked a bit nervous and was sitting against the wall next to the curtains. Someone, I can’t remember who, whispered something about the Superman pose, and how it was supposed to increase confidence and make you less stressed. So the majority of our class assumed this pose, and stood there in silence for about a minute. I remember looking at us and thinking that we were superheroes. Not just our first speaker, who looked relieved to have something to take his mind off the upcoming stress, but everyone standing there.

“We shared that moment behind the stage, trusting one another to make the night wonderful, and feeling that trust back in the tight, long-held hugs and the same emotions on everyone’s face. It was a really special experience.”