Speech Communication Association NZ (Inc)
Spring... time for a clean methinks. Spring.. . Time for a clean methinks. Imas ge: OwenJones Image: Owen Jones
ISSN 1179-5662 (print) ISSN 1179-5670 (on-line)
Cue - 2 Spring 2013
Patron: Dame Kate Harcourt
Pages 5/8: From Idea 1992 to Idea 2013 Pages 9/10: Eulogy Page 11:
Page 12-14: Public Speaking the USA way Page 15 - 19: Teachers Speak
President: Dianne Jones Vice-President: Donna McKinlay-Jones Council members: Anna Coleman Dinnie Bevers Glenda Pearce Helen Morton-Jones Email: firstname.lastname@example.org Website: www.speechcomm.org.nz CUE published by: Speech Communication Association (NZ) Inc PO Box 207, Palmerston North 4440 Editor: Donna McKinlay-Jones Phone: 022 658 0772 Email: email@example.com Skype: donnamckinlayjones
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Spring 2013 Cue - 3
very time I sit down to write the editorial, which I usually leave to last, I can never think of what to write without sounding boring and repetitious. To be honest, an editorial is normally an opinion of something developing or happening. I am trying to reason as to why the editor needs to have an opinion when we are producing, what I consider to be, an informative magazine. I realise that there are on-going problems with both the new logo and the website. I am not prepared to take one side or the other. I only hope that good sense, reason and healthy argument will bear fruition on both issues. It seems to me that both sides are digging in and I believe this should not be the case.
While I have resigned from Council because of my new work commitment and Anna Coleman, due to both business and personal reasons, it appears that a healthy organisation needs members to put their names forward and be prepared to voice their opinion as to the direction and running of SCA. This issue has been heavily contributed to by active members of the association, Dianne Jones, Glenda Pearce and Del Costello. To you, thank you,for without your contribution, this would have been a very skinny magazine. If you are reading this and enjoy what it has to offer, I urge you to contribute no matter what you think of your writing abilities. I know that every member of this fine association has something to contribute and each one of us can learn from every other member, which will in turn add to our abilities to help our students. Donna McKinlay-Jones
n my last President’s Patch I talked about being prepared for the unexpected.
Weather-wise we have just experienced a severe storm throughout New Zealand – in Spring. The America’s Cup has provided some unexpected moments, including Team New Zealand’s almostcapsize. What have these to do with us in SCA? I think it shows that with all the technology and experience in the world, situations change and throw up challenges. And we are experiencing changing situations and challenges in our profession. For the first time, as far as I know, we are losing two people from Council and we have no-one to replace them full-time – for this year at least. This will leave us with only four members on Council – unexpected and far from ideal. I touch on this in my President’s Report and will speak about it at PDS, including the options and opportunities for doing things differently. I’m writing President’s Patch on September 16 and I’m not sure when you will read it. If it’s before PDS I hope you will be there and take part in a discussion that will possibly be the most crucial we’ve ever had as far as our future is concerned. If you read this after PDS I hope you were there and made your voice heard. If you are/were unable to attend, please contribute your views to any member of Council or write to Cue. One of the ways we can build a stronger, growing organisation is to grow more branches. If an annual PDS is to continue we need to have these branches to host PDS in different parts of New Zealand. This lightens the load and varies the locations and distances members have to travel. As teams are needed to repair damage and restore facilities after a storm, and as Team New Zealand needs every member and New Zealand’s support to win the Cup, we need our team and your support to achieve our goals. Thankfully, I believe we can do it without a storm or near-capsize! Dianne Jones 16 September 2013
Cue - 4 Spring 2013
Correspondence Because a gremlin got into the works, Mrs Hickey’s letter in the last issue of ‘Cue’ was not printed in its entirety, so to address this problem, we print it again, and because both sides of any arguement have to have the right of reply, Mrs Coleman’s reaction to Mrs Hickey’s comments have been reprinted. Mrs Coleman was not asked to reply again. Editor An open letter to SCA Council and members June 2013 As a member of SCA I look forward to receiving the quarterly issue of ‘Cue’. However, the most recent issue ‘Cue’ (Autumn 2013) caused me some concern when I saw that, unannounced, a new logo had the October 2012 Professional Development Semireplaced the long standing SCA logo. nar, Helen Balch spoke of the experience of her husband who is a graphic designer, of never being Based on the nil or negative response from the able to have total agreement in support for a new general proposal regarding images shown in ‘Cue’ logo, it just doesn’t happen. I am sure you remem(Winter 2012) and the lack of affirming feedback ber the same controversy over the old logo, not received during the discussion time and AGM held everyone was rapt about the old triangle with the at last year’s Professional Development, it was my three letters in it. understanding that the development of a new logo was not going to proceed in the immediate future. We are about finding our voice so we can help others find theirs. This logo speaks of having a voice, Since the October AGM, members have received no helping people grow their identity and truth so they information or update from Council regarding the can speak out with confidence. development or reason for introducing a new logo. Council has mistakenly made the assumption of The council would like to now focus on moving silent assent. Many of our members are the silent ahead, looking at the big picture, envisioning a majority who are too polite to object. However, they strong future, where we are committed to upholding are the ones who are likely to show their dissent by our industry’s high professional standard’s and to not renewing their next annual subscription. keep registering teachers, which is our core business. As a logo is the identity of an organisation, its image should define our Association. At least the long We feel that the logo has been put to bed. I am standing logo used by the Association has clear happy to talk to your personally, but as a Council representation to members of its relevance. we feel this issue has been dealt with. We have officially adopted this logo and are committed to it. For a logo to have impact, each one of us must unIt will appear on the new website and on all our ofderstand and believe in its identity. Therefore, as a ficial communications. number of SCA members have also expressed their confusion relating to the message the new logo is Kind regards intended to convey, would Council please clarify the intention of this logo and whether it has been Anna Coleman adopted permanently or is Council still investigating Marketing Portfolio on behalf of SCA Council other ideas. Sheridan Hickey Dear Sheridan Thank you for your letter. As a Council we appreciate receiving feedback. I acknowledge your frustration over the process of choosing and implementing a new logo. Being in charge of the project there are things I would have done differently and I have learned some valuable lessons. We received overwhelming support well over 70% of members favouring the logo and had some very positive comments. During the discussion hour at
Spring 2013 Cue - 5
From IDEA 1992 to IDEA 2013 Glenda Pearce Recently, as recipient of the Deirdre Snedden Trust Award, I was privileged to attend the 8th IDEA World Congress in Paris, France. Over 900 people attended the Congress from 52 different countries. As you can imagine, it was an exciting event to attend and certainly it was a truly memorable mixture of like-minded people from all over the world. There were university lecturers, researchers and practitioners, performers and teachers.
research, case studies, pedagogical theories, new curricula and performances. Following Porto in 1992, IDEA’s world congress moved hemispheres in 1995 to Brisbane, Australia. Many friendships and collaborations resulted. This widening global community met again and again – in Kisumu, Kenya (1998), Bergen, Norway (2001) and Ottawa, Canada (2004), Hong Kong (SAR), China (2007) and in the Brazilian rainforest at Belem (2010).
Theatre d’Odeon – where the morning session keynotes were presented It was a complex conference with presentations occurring in seven different venues, found in diverse arrondisements – requiring metro trips, often between morning keynote and round table sessions at the Odeon, afternoon workshops at the Universite Paris 7 Diderot and evening performances at various theatres. I look forward to sharing some of the interesting material from that conference with you, with a brief introduction here in this CUE and at the Auckland PDS, in October 2013, with further articles in the next CUE. Eighteen years ago, IDEA launched its first world congress in Porto, Portugal. Since then, thousands of drama and theatre education teachers and pedagogues, scholars and artists from across the world, have met at 8 world congresses to exchange and celebrate practice,
The President of IDEA (2010- 2013) has pledged that a focus of IDEA will now be on drama and theatre in schools (as well as other educational settings) and on all children and young people having access to trained drama teachers/ theatre educators/ drama pedagogues. In Hong Kong, more than 1200 people from more than 50 countries participated in a 6th congress which experimented with ‘dialogic’ keynotes, onstage roundtables and a world workshop for young actors and directors who gave their own keynotes. The 7th IDEA World Congress took place in Belem in northern Brazil, the metropolitan capital on the banks of the Amazon, in July 2010. The 9th World Congress will take place in Istanbul, Turkey, August 1 – 6 2016. Each World Congress presents: * key note speakers
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Universte Paris 7 Diderof - where the afternoon workshops took place. * round-tables * short papers on PhD projects (20 mins) * SIGS (Special Interest Groups) (1 hour 30 minutes every day) * workshops (2 - 3 hours). There were several themes to this Congress which made it a stupendous smorgasbord for those attending! It also made it very challenging to choose which round tables, workshops and key notes to attend – as sometimes they were running concurrently. Theme 1: Has Arts Education become a global issue? Theme 2: How can Drama / Theatre and Education practices become transformative learning processes? Theme 3: An embodied approach: establishing a dialogue between neuroscience and arts education Theme 4: Languages in Drama / Theatre and Education: highlighting diversity or blending cultures? Theme 5: Creating and writing for and with young audiences : place and recognition
from reducing us to our biological dimension,“the neurosciences are beginning to understand what theatre has always known”, as Peter Brook tells us in the introduction to ‘Mirrors in the brain’ by Giacomo Rizzolatti and Corrado Sinigaglia.
The Opening address was by Joelle Arden Head of the Scientific Committee and clearly introduced the key themes: “The Neuroscience revolution takes place of honour in this congress. Far
The neurosciences flash back to us both novel and familiar reflections of our “structural [and poetic] dance in the choreography of coexistence”, to quote Humberto Maturana and Francisco Varela.
Young IDEA performers performances (30 under 35 year olds are selected) “We also wish to highlight the linguistic interbreeding and cultural hybridizations that play a crucial role in artistic encounters. Our languages both connect and separate us. Transcended by artistic languages, they remind us that we must accept the existence of the undecipherable in our life stories, that mutual understanding also involves things perceptible but invisible and inaudible, and that, as stressed
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Paul Ricoeur, art is “a mutual reinterpretation, a never-completed work of translation of one culture into another”. “Finally, we cannot omit discussing the digital revolution which is transforming all the levels of our relationships. It multiplies our identities, confers on us a virtual gift of ubiquity, places an unheard-of sum of knowledge within reach of a click; it redraws our symbolic spaces, but simultaneously cuts us off from the emotion of face-to-face meeting and of perceptible and direct interaction with others, thus opening the door to derealisation and delusion. We must, more than ever, ”put gardens, theatre and encounters in our schools“, as the neuropsychiatrist Boris Cyrulnik reminds us.” It was obviously impossible to get to everything on offer! Of particular interest to me were Themes 3 and 4. It is these two themes that I will focus my comments on – at the PDS in Auckland, and will share some very interesting material about neuroscience and arts education and also some strategies for working with ESL students in drama. However, here, I would like to present the discussion on Theme 1: Theme 1 - Has arts education in the 21st century now become a global issue ? Twenty years after the founding of IDEA, we inquire into the legitimacy of arts education in school systems around the world, the forms it takes, and the way it responds to the sociocultural challenges of the 21st century. Keynote: Larry O’Farrell / professeur et titulaire de la Chaire UNESCO des Arts et de l’apprentissage, Queen’s University,Canada In general, Larry o’Farrell felt that there had been positive moves in arts education throughout the second half of the 20th century as an addition to improve the formal education system (1948 UNESCO ) . Generally, this arts education was formalised such as in education at schools. Outside of the formalised structure arts education is seen as Informal education. SCA speech and drama teachers “after school” would be seen as informal education – or
Paris Opera House in NZ, extra-curricular education. American studies shows music throughout primary and secondary schools, with drama mostly in secondary schools as an option. As we are aware, such as in New Zealand, many worldwide curriculum documents are now including arts education in their scope. This is still not the case in all countries. For instance, in Hong Kong, drama classes are sometimes seen as “English enhancement” classes which are not examined but seen as work towards school productions. (Paper: Matthew Decoursey). We could equally argue, that in New Zealand, that drama and other arts subjects (dance, music) are seen as less desirable pathways academically. This is a great tragedy. We need to see arts education as something much more worthy and valuable. However, Professor O’Farrell felt that arts education needs to move towards being involved in education for sustainability. He didn’t really have time to elaborate this point.
My comment: By the end of the conference it was very clear that many of the other keynote speakers and workshop presenters were emphasizing the idea of the “culturally intelligent brain” and how drama education is transformative as a practice and also an international language. In response - French speaker: Jean Pierre Saez directeur de l’Observatoire des Politiques culturelles O’Farrell’s comments were debated by Saez, who says schools and educators need to motivate the desire for more education for creativity and teaching processes . Creativity and arts education has been researched in the light of the claim that these skills make people more socialised and have a key impact on the skills of “Getting along”. Arts students can listen better, have better verbal skills, and work better in a group. Arts education helps fight the poisons of our society, eg. Materialism, “square box thinking”. I don’t think many speech and/ or drama teachers would argue with this statement! In fact, our revised NZ Curriculum document (2005) has creative thinking as one of the key processes to be
Cue - 8 Spring 13 taught. As drama educators, we are aware how values are communicated through literature and explored through arts education. Knowledge, perception and experience is the crucial to the system of acquiring knowledge. We need to be active though (Vgotsky) and we need to remember how important play is. (Dewey: hands on learning and experience) Is there a recipe or a successful model for arts education? 2013 has seen a government policy in education and arts with a budget commitment to research and training in arts education and cultural education. This is certainly a welcome change to France’s educators. A closing thought: Artistic education maintains those who practice it. It is a fountain of eternal youth, because youth is a state of mind.
Paris Opera House
Why communication is important A friend went to Beijing recently and was given this brochure by the hotel. It is precious. She is keeping it and reading it whenever she feels depressed. Obviously, it has been translated directly, word for word from Mandarin to English……….
Getting There: Our representative will make you wait at the airport.. The bus to the hotel runs along the lake shore. Soon you will feel pleasure in passing water. You will know that you are getting near the hotel, because you will go round the bend. The manager will await you in the entrance hall. He always tries to have intercourse with all new guests.
The hotel: This is a family hotel, so children are very welcome. We of course are always pleased to accept adultery. Highly skilled nurses are available in the evenings to put down your children. Guests are invited to conjugate in the bar and expose themselves to others. But please note that ladies are not allowed to have babies in the bar. We organize social games, so no guest is ever left alone to play with them self.
The Restaurant: Our menus have been carefully chosen to be ordinary and unexciting. At dinner, our quartet will circulate from table to table, and fiddle with you.
Your Room: Every room has excellent facilities for your private parts. In winter, every room is on heat. Each room has a balcony offering views of outstanding obscenity! You will not be disturbed by traffic noise, since the road between the hotel and the lake is used only by pederasts.
Bed: Your bed has been made in accordance with local tradition. If you have any other ideas please ring for the chambermaid. Please take advantage of her. She will be very pleased to squash your shirts, blouses and underwear. If asked, she will also squeeze your trousers. Above all: When you leave us at the end of your holiday, you will have no hope. You will struggle to forget it.” Submitted by Glenda Pearce
Spring 2013 Cue - 9
25.10.1936 – 17.07.2013
Here is the eulogy SCA president Dianne Jones presented at Colin’s funeral and the photo that was on the order of service. It was taken at a memorial party for Penny Giddens, Artistic Director of Repertory, held at repertory’s current temporary premises. My first memory of Colin is of him being dropped off by his father, at the Mercy Centre, for Speech Communication Association, (SCA), meetings and events in the 80’s. Colin and I served on both the SCA and Repertory committees for many years, but today, as National and Branch President, I’m speaking on behalf of SCA. Overwhelmingly, the feeling that Colin has gone is unreal. We have received e-mails from friends and colleagues throughout New Zealand, also expressing shock at his sudden death. To quote from just three of these messages: Claire Marsh said that she and her seminarians at the Holy Cross will be saying a prayer for Colin at this time.
Pam Logan first met Colin through The Insect Play at Repertory 50 years ago, and concluded: “Good on him for being out on his bike!” Janet Coote, who was present at the very first Canterbury Branch meeting echoed the comments of others, saying Colin was a nice man and loyal SCA member. Colin was loyal, a long-serving and caring member of SCA, and as our branch Treasurer, meticulous. However, he had a habit of going overseas or somewhere to stay with friends, during the lead up to national and local events organised by the Canterbury Branch. You will know that he didn’t have a computer, mobile or even voice-mail, and this resulted in the rest of us trying all sorts of ways to estimate how many registrants we had as communicating with him was impossible. A couple of meetings ago, Colin submitted a typewritten list of DVDs and books for when we resumed our DVD and Literary evenings in either Lynn Williams’ studio at Rangi Ruru or my home. His interests in literature, cats and gardens are reflected in the list which includes: Great Expectations, (black and white classic version), Cats, and Gardens of the World with Audrey Hepburn. Colin’s formidable knowledge of literature led him to suggest our Literary Evenings. So when Court
Colin Alexander Theatre put on Bleak House, we had a George Bernard Shaw evening where we had all selected an extract from some work by Shaw. Colin arrived not only with his extract, but a hand-out on Shaw to make sure we had the literary background. Another time, with our AGM coming up, he suggested we do a play-reading of The Bald Prima Donna. We had some hilarious rehearsals of this but unfortunately, at the time of the AGM, Colin was unwell. However, it was too good to leave, and eventually was presented as a play-reading at Repertory’s Sunday Club, as every member of the cast also happened to belong to Repertory. (This dual membership of both organisations led to some morphing at meetings). Our memories of Colin include laughter. In The Bald Prima Donna where he was once again the stage husband of Lynn Williams, Colin’s chair
Cue - 10 Spring 2013
An Obituary to an old friend
tipped off the edge of the staging and Colin was cast.
Today we mourn the passing of a beloved old friend, Common Sense, who has been with us for many years.
Lynn, disregarding the fact that Colin might be injured, improvised their way out, telling her ‘husband’ to get up and sit down.
No one knows for sure how old he was, since his birth records were long ago lost in bureaucratic red tape.
Fortunately Colin was fine and he thoroughly enjoyed the impromptu humour. In fact, he was convinced it added to the play, (it did), and the audience would think it deliberate. But for many of us, Colin was at his funniest when he presented the monologue, The Telegram, at a hugely successful members’ evening held at Repertory’s first post-quake temporary premises, Tony’s Auto Tyre Service, in Armagh Street, on Saturday 19 February, 2011. The piece was made for Colin and it created a happy memory for us on our last evening in that building. Later that year in October, Canterbury Branch arranged the National SCA Professional Development Seminar, Into the Light. For as long as I can remember, Colin hadn’t travelled to national conferences or seminars, but he enjoyed the whole experience so much he said he realised what he’d been missing out on.
He will be remembered as having cultivated such valuable lessons as: -
Knowing when to come in out of the rain; Why the early bird gets the worm; Life isn’t always fair; and maybe it was my fault.
Common Sense lived by simple, sound financial policies (don’t spend more than you can earn) and reliable strategies (adults, not children, are in charge). His health began to deteriorate rapidly when wellintentioned but overbearing regulations were set in place. Teens suspended from school for using mouthwash after lunch; and a teacher fired for reprimanding an unruly student, only worsened his condition. Common Sense lost ground when parents attacked teachers for doing the job that they themselves had failed to do in disciplining their unruly children.
Many members remember him from that event.
It declined even further when schools were required to get parental consent to administer sun lotion or an aspirin to a student; but could not inform parents when a student became drug addict.
Colin was a valued and loved member of SCA. During the warmer months he’d cycle to our meetings.
Common Sense lost the will to live as the churches became businesses; and criminals received better treatment than their victims.
When it was cooler, Lynn, Lucie Durkin and I would drive to his home, where we would admire his garden and congratulate him on awards he’d won in the Gardening Competitions. He would bring us all a rose on special occasions, and Lynn and I have geraniums in our gardens that came from Colin’s. When someone dies, we are often left with “going tos”. About this time last year, Colin admired the Earli Cheer in my garden, and I was “going to” dig up some bulbs and give them to him. There were more going tos, but we always thought we’d see you at the next meeting.
Common Sense took a beating when you couldn’t defend yourself from a burglar in your own home and the burglar could sue you for assault. Common Sense finally gave up the will to live, after a woman failed to realize that a steaming cup of coffee was hot. She spilled a little in her lap, and was promptly awarded a huge settlement. Common Sense was preceded in death, by his parents, Truth and Trust, by his wife, Discretion, by his daughter, Responsibility, and by his son, Reason. He is survived by his four stepbrothers; I Know My Rights I Want It Now Someone Else Is To Blame I’m A Victim
To a friend and colleague who loved many of the important things in life – we miss you and the meetings are very quiet without you.
Not many attended his funeral because so few realized he was gone. If you still remember him, pass this on. If not, join the majority and do nothing.
Submitted by Glenda Pearce
Spring 2013 Cue - 11
Canterburyâ€™s annual general meeting Right: Dianne Jones presents the Leslee Tucker Memorial Cup for Associate Trinity College London Teaching to Taina Rai.
Right: Sister Leonie presents the Helen Oâ€™Neill Trophy for the Associate Speech New Zealand Award to Hannah Wakelin.
Right: Lynn Williams presents the Elizabeth May Salver for Associate Trinity College London Performance to Rozena Hallum who accepts it on behalf of Edward Close.
Cue - 12 Spring 2013
Public Speaking the USA Way By Del Costello s private teachers we have a broad range of skills that we need to cover in our curriculum.
My 2013 search for professional development led me to the National Speakers Association Convention in Philadelphia, USA.
The art of public speaking here in New Zealand is not nearly as popular as the drama class but we all know; in most cases that public speaking is a life skill that will help our students stand out from the crowd, now and in the future.
The National Speakers Association (NSA) is the premier organization for professional speakers. Since 1973, NSA has provided the most comprehensive resources and education designed to advance the skills, integrity and value of its members and the speaking profession. With over 1300 delegates at the convention this year, delegates ranged from authors, to motivators, to sports people, actors… you name it they were there. What we all had in common is that we are paid to speak. Key note speakers, trainers, presenters, television and radio personalities all turned out to extend their professional learning.
The NSA has four key competencies: • Eloquence – The art of speaking and the use of powerful and persuasive presentations. This means creating the proper setting for an effective presentation as well as the concrete skills related to presenting, performing and theatrical methods. • Expertise – The knowledge, skills and experience in a specific area. Speakers should know which body of expertise is ideal for them and be able to effectively research and develop their content. • Enterprise – The purposeful undertaking of a successful speaking business venture. This includes business management, sales and marketing knowledge, as well as the skills necessary to generate income through speaking engagements and other revenue
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Convention Centre-Marriot Hotel, Philadelphia •
streams. Ethics – The principles or standards governing the conduct of those in the speaking profession. Ethics is the foundation and summation of the three other competencies. It is about who you are as a person — both personally and professionally – and encompasses your reputation, character and integrity.
In total there were over 150 learning opportunities, daily key note addresses, and many opportunities for serious networking. Over the six days, I attended a fantastic range of sessions and in the next few CUE publications I will share with you just some of what I have encountered. Philadelphia is a long way from Palmerston North and I can honestly say that I was quite apprehensive. I was travelling for three days
around the other side of the world solo to a convention of huge proportions. I knew no one and this stretched me to say the least. I certainly need not have worried. The trip was enjoyable and there are many benefits of travelling solo (compared to travelling with my tribe of a family it was a breeze). Once at the Convention I was warmly welcomed by everyone. Even if I had wanted to, it would have been impossible to go under the radar. Everyone was so interested in each other. I meet some of the most amazing people. A Mormon woman from Salt Lake City who was a famous inspirational speaker, a guy who wrote ‘Facebook for Dummies’ and many more.
Networking was number one and it did lead me to ponder a comparison of attending such an event solo in New Zealand. I am certain it would be a challenge to meet so many new people and if you wanted, I think you could go a whole five days in New Zealand without meeting someone new. Networking does not come naturally to many kiwis- a lesson we could take from the Americans. “The power is in the people” I did meet the two other New Zealanders at the convention-lovely, motivational ladies who make a great living in New Zealand and Australia speaking. The New Zealand Chapter of the NSA is an active organisation and I will be looking at joining next year. The other big difference I noted about the convention was the
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The technology was amazing! willingness and openness when it comes to sharing personal intellectual property. The sessions were practical, real and engaging. I got an insight into a White House speech writers secrets, the low down on media interview from a consultant to some very big names- she comes with a very big price tag….just to name some examples of those willing to give away their knowledge. I asked one presenter about the reasoning behind the open approach to sharing and the response was, “We share, the industry grows, we all do better, end of story. Why wouldn’t you?” In New Zealand we are more cautious about sharing our knowledge and I think it does hold us back. Six intense days in the USA had been a highlight in my life time of professional learning. I have joined the NSA (international) and subscribed to ‘The Speaker’ magazine.
Not much time for sightseeing so just a few famous spots. principal and her junior team while they were planning (it was summer vacation so no kids).
The 2014 Convention is in San Diego California- here’s hoping I can make it!
Had a tour of the school and lunch with the senior managers.
On the last day of Philly I spent the day at the String Theory Performing Arts Charter School.
A revolutionary approach to education that means they have 1200 students and a huge waitlist.
Thanks to Twitter for putting me in contact with the CEO of the education organisation. I spent the morning with the
This is not a fee paying school and they are opening a high school in 2014. Check out www. stringtheoryschools.com. From
my observations this was a charter schools success story. Once again, thank you Deirdre Snedden and the Trustees-another opportunity provided by your legacy. I will be sharing knowledge with all our members in CUE and at other PDS opportunities. “We share, the industry grows, we all do better, end of story. Why wouldn’t you?”
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Teachersâ€™ Speak... InAction â€“ Inspiring Students
s teachers we hope that we offer the inspiration our students need to keep them motivated and interested in lifelong learning. For me a group of senior students have offered me their inspiration in return. Faced with a group of girls wanting to attend the National Youth Drama School but realising that many were not in a financial position to go without help we approached the service clubs who were generous in their support but there was still a shortfall. Having spent time learning both clowning and miming we turned the clown routine they had performed for an NCEA assessment into a mime routine. Then we researched appropriate costumes and developed some smaller mime routines as well as perfecting a series of Living Statues poses. The first public performance was busking at the local farmers market on a Sunday Morning. This proved to be good fun for performers and audience, profitable, and a great photo opportunity for visiting tourists. Invitations followed to perform at a variety of events around the town. In November InAction has been invited to be part of the entertainment at the annual Victorian Fete. Wanting to capture the era through appropriate costumes and after receiving financial support to have these made we are hoping for a fine day to showcase the routines. The senior girls are now helping to train the next group of girls who recently auditioned to join InAction. These girls have worked to create something special and their commitment and enthusiasm is catching. Sherilyn Hellier
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Warm ups... 10 minutes and under Traffic Lights
E.g. Fit swimmer, loves reading, sings and doesn’t like spiders.
An exercise to focus minds ready for a drama workshop.
On a postcard size piece of card/paper get students to write their own personal advertisement.
Students walk around the space in a neutral way trying to visit every corner of the room.
You can display the postcards and decide who belongs to the advert.
Encourage students to forget about where they may have been and to empty their minds of thought to prepare themselves for Drama.
This can also be used as a homework task.
Teacher can call out:
A comical angle to this task works well.
• Red = Freeze • Amber = Sit on the floor • Green = Begin walking Change the actions to explore particular gestures ready for the lesson. Variations: Swap the colours and actions around e.g. Red = Go. Call ‘mini-roundabout’ numbers, such as 3’s, at which point everyone must get into a circle of 3’s. This is a good starting point for group work.
Ewy Chewy Toffee A good warm-up before any vocal work - exercise the jaw and facial muscles Tell students to mimic your actions and the pretend to get a toffee out from your pocket, unwrap it and pop it in your mouth. Chew! Explore all the possible movements:
• • • • • •
up and down side to side chin out/chin in toffee stuck a huge toffee piece that dissolves to a tiny piece different areas of the mouth
You’ll be surprised at the varying expressions on their faces. Use your own chewy toffee to screw your face into as many strange shapes as possible. Create a personal advert to highlight the best and worst of you or your characters personality. Personal adverts you find in newspapers etc can provide several comical character stimuli, vocal work which can also lead to students designing their own advert.
Variations: Write an advert for a particular character in a play/novel e.g. Juliet. To develop characterisation in their voices, encourage students to read out their own advert, or each others, in the voice that they think best represents the character behind it.
Random Sound Story Use some random sounds as the basis for creating a story. Split into groups of 5 or 6. Ask each group to come up with a selection of random sounds - with each member making one vocalised sound. Next, the group decides on a sequence in which these sounds are made and practices it in that order. Each group performs its sound sequence in turn to the whole class. Now the groups are asked to make up a strange story in which these sounds occur. This exercise could be preceded with a vocal warmup game, and could be extended to form an entire session. Variations: Give a selection of pre-recorded sound effects to the groups to use as a stimulus to create a short scene that incorporates each sound.
Trust Lift Lift a person above your heads with this trust exercise. One student lies on the floor and keeps his or her body rigid. Six or seven other students lift that student above their heads. Stress safety.
Develop pair work with a trust exercise.
Spring 2013 Cue - 17
Teachers’ Speak... Divide into pairs of students who are approximately the same size. Stand toe to toe, hold hands, and lean back, balancing one another. When using this game, safety is very important. Variations: Stand back to back, heel to heel AND lean back to balance one another and slowly step outwards ensuring that weight is taken evenly.
Doctor’s Surgery (group cohesiveness)
sudden movements. Variations: Put students into pairs and then ask them to label themselves A and B. Firstly, choose A’s to initiate movement for B’s follow. Stress co-operation, make moves complex and fast enough to give a challenge. Reverse roles.
Connect Me Connect to different words to spark discussions or to delve into characters. Give a list of words to the students.
There’s only one spare seat in the waiting room and nobody wants you to sit in it! A great energy game promoting teamwork.
Explain that they have 3 minutes to write down something about themselves associated or that has a connection with the words given.
Students will need chairs and be sat in a circle.
For example, if the word ‘London’ is in the activity sheet, they can write, “I went to London last month.” Or “London is where I’d like to live one day.”
The idea is that we are all in a ‘Doctor’s surgery’ sat in the waiting lounge on our chairs. Place one student in the middle so there is one spare chair. The student in the middle wants to sit down but the students on their chairs won’t let them. As soon as the student in the middle tries to sit down the person next to the chair sits on it, and the new empty chair is filled by the student next to them and so on (all one way.) Seated students can only fill the chair next to them in a sequence. Stress how important it is for everyone to work well together, concentrating on their next move. Variations: You can have more than one student in the middle and you can add in extra actions e.g. change direction, all move (everyone across the circle can switch.)
Secret Leader A game of teamwork and concentration where a detective must spot a secret leader also can help build dramatic tension. Start in a Drama circle. Explain the game and model to them that one of them will be moving/gesturing and the group will be ‘mirroring’ their action. Send one student out of the space, to be the detective, and then assign a secret leader. With the leader leading the circle, and the group mirroring, call the detective back to stand in the centre of the circle and try to identify the leader. Ask the group how they may ‘trick’ the detective, such as not looking directly at the leader, or keeping moves flowing enough that there are no
At the end of 3 minutes ask the students to share their information with others (in small groups or with partners). Words could be:
• • • • •
Strawberry London Camping Sky One year
Students can sometimes really connect themselves and give very personal answers in this exercise and especially if you use the variation. Just be aware and ensure the appropriate environment has been set. Variations: You could use a list of words that are particularly themed to the work/text/character you’re working on. Source: Drama Toolkit Check out their website for amazing tips and resources: © 2010-2011 www.dramatoolkit.co.uk
Cue - 18 Spring 2013
Typography Tips for Every Presenter I thought this article would be useful for those teachers preparing students for exams, where a visual aid is required. Editor Today everyone is a typographer. If you have access to a keyboard and a basic software program, you have control over typography. For instance, if you construct email, write for a blog or build presentations, you have a type of control (pun intended) over your words and letters that your great grandfathers would envy. Be thankful. Typography used to only be an art form available to the ink-stained labourers of the early 19th century. A lot has changed since the days of Gutenberg but the sad reality is that even though today’s presenter has control over type, most don’t quite understand — much less utilize — it as an art form. It is one, and its power can be immense. Moving forward, I want you to apply significance to typography just as you do with colour and photo selection. Here are 5 basic tips to get you thinking within the right context:
1. Match Your Brand For starters, if you have a brand style guide, stick to it. There are most likely 1-2 fonts that you must adhere to, to keep brand consistency. If so, follow the rules. If not, take advantage of the opportunity to seek out a new font that is still visually engaging and in a similar font family.
2. Pick Two Fonts I always recommend aiming for only two font styles. Why? One font style is too boring. Three font styles are too much. Consider two font styles as the Goldilocks approach. It’s just right. If you insist on using multiple fonts, three should be the absolute cap.
3. Go Big A few years ago, Masayoshi Takahashi changed the presentation industry by rolling out a big text approach to presenting. Think 500 point size. Large font is all he utilized on
his slides. It was go big or go home, and it’s a simple and easy design tactic that anyone can implement.
4. Be Bold Certain points are always going to be more relevant than other items. For instance, let’s look at the phrase “Change the world.” Depending on your perspective, you may want to really emphasize the idea of “Change.” Utilizing the bold feature to create contrast with your message then becomes essential: “Change the world.” Even with something so simple like the phrase above in this blog post, adding contrast adds plenty of visual value.
5. Keep it Simple At the end of the day, your font choices need to be easy to read. It’s that simple. If you can’t decipher a letter, then you can’t expect your audience to decipher it, much less comprehend your message, as well. Choose wisely. Remember, typography is an art. You aren’t going to become a typography expert overnight, but you can definitely start building some more engaging slides by understanding the rules. Scott Schwertly is the author of How to Be a Presentation God and CEO of Ethos3, a Nashville, TN-based presentation boutique providing professional presentation design and training for national and international clients, ranging from Fortune 500 companies to branded individuals like Guy Kawasaki.
Spring 2013 Cue - 19
Teachers’ Speak... Want To Be Memorable? It Starts With Your Content T
ime cannot be deposited into a savings account to accrue over time, and time can never be exchanged or refunded. Once you spend it, it is gone forever. If we can agree that time is a treasure, then let’s make sure the next presentation you give respects your audience’s time.
The experience needs to be memorable, and it starts with how you develop your content. Here are a few simple tips to make your content more memorable:
Record Your Thoughts As a voracious reader, I constantly have programs like Evernote within reach to track and document a new idea, quote or other piece of inspiration. Choose the program that works best for you and track your ideas so that you can share them at a later date. After all, it’s been said that “A life worth living is a life worth recording.” Your life is full of so many rich experiences and lessons. Most of these are worth documenting. More importantly, some are probably worth sharing during your next presentation.
Write Like You Speak If you are the kind of person that likes to script out your content, then make sure you are using everyday language. If your audience needs a dictionary to comprehend your presentation, tone it down a bit. Nobody appreciates a show-off. Be yourself and write like you speak.
Provide Clarity If I were to make the statement “A dog walked across the street,” one person will think Golden Retriever while another person will think Great Dane. But if I were to say “The Bulldog walked across the street” then the message is completely different. It’s clear. I’m doing the heavy lifting as the presenter by providing an extra layer of clarity.
Speak in the Present
As a communications major in college, I quickly learned in my first Broadcast Journalism class that “Is” is much more powerful than “Was.” Turn on the channel to your local news station and you will see this at play. Broadcasters always speak in the present tense. You should do the same.
Make Three Points The human brain works like this: 1, 2, 3…I forget. No one is going to remember your 4th or 10th point. Always aim for three points. Always.
Break Things Up I always like to pretend a child is sitting in the back of the room when I’m giving a presentation. This mindset forces me to embrace some basic rules of simplicity that includes “chunking” my content into bite size pieces. The best way to do is this is by using lots of periods to ensure your content is littered with multiple/ easy-to-understand sentences.
Create ‘Twitterable’ Moments As presenters, we must embrace that we live in a world where social media is now the norm. Every webinar, product launch or sales presentation provides just another opportunity to share the value of your brand. With that said, you need to create Twitterable moments – clever headlines, golden nuggets and smart advice that you know will be tweeted and shared with the rest of the world. Now that you have invested 2-3 minutes to read this post, I hope it has been a valuable return on the investment of your time. If so, pay it forward. Foot note: Even though we as an association encourage extempore speaking, some students still believe they need to write a script, hence ‘Write like you speak’ has not been deleted.
Deadline for the next CUE is December 1
Cue is the official journal of Speech New Zealand Association (NZ) Inc.