Cycle 1 Interpretation
Guantanamera
This was the first song we ever learned as a class and maybe the students' favorite. It helped them reinforce the verb "ser-to be" with the first lyric of "I am an honest man." I reminded the class that the title meant "A girl from Guantanamo" and forewarned them that they might see that on our next quiz. We looked at the original work "Versos sencillos," by Cuban poet and key figure in the country's independence, José Martí. The poem, from which the song was later adapted has themes of altruism, expression, and identity. Lines talk about wanting to cast one's luck upon the poor and wanting to express one's verses before one dies. The students learned and possibly related to how a radio DJ wrote the melody and chorus after being rejected by a beautiful woman.
Guantanamera
This was the first song we ever learned as a class and maybe the students' favorite. It helped them reinforce the verb "ser-to be" with the first lyric of "I am an honest man." I reminded the class that the title meant "A girl from Guantanamo" and forewarned them that they might see that on our next quiz. We looked at the original work "Versos sencillos," by Cuban poet and key figure in the country's independence, José Martí. The poem, from which the song was later adapted has themes of altruism, expression, and identity. Lines talk about wanting to cast one's luck upon the poor and wanting to express one's verses before one dies. The students learned and possibly related to how a radio DJ wrote the melody and chorus after being rejected by a beautiful woman.
When I played the eight minute video showing different scenes and musicians from Cuba, I realized I hadn't ever been able to keep all of the students eyes focused on the same area for for so long. Afterward, we talked about how educational tourism is now allowed in Cuba and soon it will be open to all public tourism. After students finished translating each line working in groups, we followed by discussing the metaphor that says, "My verse is a wounded deer that seeks refuge in the mountain." |
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Cycle 2 Transformation
Creating original lyrics
When I informed the students they would write their own verse to the song, I could sense their doubt and anxiety about having the abilities to do so. Since I hadn't planned a separate activity of learning poetic devices to scaffold their learning, I tried to calm their learning by reminding them that poetry doesn't have to rhyme and that we would be following the original lyrics closely as a model. I first had them find which words rhymed in each verse. I pointed out that certain verses repeat and they didn't have as much to write as they thought. Finally, I reminded them that rhyming in Spanish could be easier than in English. We reviewed that all adjectives have to agree with preceding subjects in gender and number, often creating a rhyme. They also reviewed how all verbs end in -ar, -er, or -ir in their infinitive forms. On the fly, (Reflection-in-action) I came up with an example of a verse to show them on the board about being a teacher and wanting to share the power of language. Near the end of the class, students who were finished shared their original verses with the class as students tried to understand their meaning.
Combining lyrics
The following day, I had a small group of students volunteer to help me choose which lyrics might fit together and be best for joining in the collaborative group verse. After this was done and slight modifications were made improve the meter and flow of the verse, I printed out the new versions for the students to learn and practice.
Practicing new versions
In the days that followed students practiced singing the new lyrics as a class. This way, they were applying prior knowledge to a new context of different lyrics.
Creating original lyrics
When I informed the students they would write their own verse to the song, I could sense their doubt and anxiety about having the abilities to do so. Since I hadn't planned a separate activity of learning poetic devices to scaffold their learning, I tried to calm their learning by reminding them that poetry doesn't have to rhyme and that we would be following the original lyrics closely as a model. I first had them find which words rhymed in each verse. I pointed out that certain verses repeat and they didn't have as much to write as they thought. Finally, I reminded them that rhyming in Spanish could be easier than in English. We reviewed that all adjectives have to agree with preceding subjects in gender and number, often creating a rhyme. They also reviewed how all verbs end in -ar, -er, or -ir in their infinitive forms. On the fly, (Reflection-in-action) I came up with an example of a verse to show them on the board about being a teacher and wanting to share the power of language. Near the end of the class, students who were finished shared their original verses with the class as students tried to understand their meaning.
Combining lyrics
The following day, I had a small group of students volunteer to help me choose which lyrics might fit together and be best for joining in the collaborative group verse. After this was done and slight modifications were made improve the meter and flow of the verse, I printed out the new versions for the students to learn and practice.
Practicing new versions
In the days that followed students practiced singing the new lyrics as a class. This way, they were applying prior knowledge to a new context of different lyrics.
Cycle 3 Exhibition
In this cycle, we continued to practice the new versions, singing as a class and in smaller groups as well. Each time to begin, I would ask the class or individual students, "Which line says..." and they would call it out in Spanish. This could be a mini competition to see who calls it out first or just a way to get students to practice Spanish pronunciation and check for understanding of meaning.
To vary the methods of practice and also to create a little more engagement, tension, and motivation, I would sometimes have the class split in half and alternate singing different verses when I pointed to them. This helped me realize that the smaller the group one is singing in, the higher the stakes and stress levels of being heard individually. It was a good transition to our next form of practice.
For the night of the exhibition, we would be singing in groups of 10-12 so I wanted to give students that experience. We also had to practice singing standing up, and in different locations of the school. We discussed which areas would be best, other details like dress, "Caroling" folders with lyrics, and accompanying instruments like shakers and rhythm sticks. I told the students they needed to memorize the lyrics for a better performance without reading. However, I knew they should have the lyrics to refer to as a support during exhibition. When they asked about this, I wanted to tell them they wouldn't have lyrics in order to create a small amount of stress that would push them harder to memorize. This could have been a level of stress that would inhibit learning and confidence instead of promoting them. In the end, I had to be honest and let them know they would have their support.
The day preceding the exhibition we had two practice runs, or dress rehearsals, where we performed for the visiting elementary and middle schools of our village. We alternated performing with the actual groups students would be singing with.
When we performed during exhibition, we alternated with four groups and four time slots playing at the three different locations throughout the campus. Our first location had students performing for many of their own friends and family as they came in to the area of the interdisciplinary teen health awareness exhibition. The second location had students singing next to the food area outside rad by the Padres Unidos, the same group of Spanish speaking parents they had interacted with in Phase 1. Finally students would perform in a different wing of the building occupied mostly by students and their families from different grades, as well as the general public.
In this cycle, we continued to practice the new versions, singing as a class and in smaller groups as well. Each time to begin, I would ask the class or individual students, "Which line says..." and they would call it out in Spanish. This could be a mini competition to see who calls it out first or just a way to get students to practice Spanish pronunciation and check for understanding of meaning.
To vary the methods of practice and also to create a little more engagement, tension, and motivation, I would sometimes have the class split in half and alternate singing different verses when I pointed to them. This helped me realize that the smaller the group one is singing in, the higher the stakes and stress levels of being heard individually. It was a good transition to our next form of practice.
For the night of the exhibition, we would be singing in groups of 10-12 so I wanted to give students that experience. We also had to practice singing standing up, and in different locations of the school. We discussed which areas would be best, other details like dress, "Caroling" folders with lyrics, and accompanying instruments like shakers and rhythm sticks. I told the students they needed to memorize the lyrics for a better performance without reading. However, I knew they should have the lyrics to refer to as a support during exhibition. When they asked about this, I wanted to tell them they wouldn't have lyrics in order to create a small amount of stress that would push them harder to memorize. This could have been a level of stress that would inhibit learning and confidence instead of promoting them. In the end, I had to be honest and let them know they would have their support.
The day preceding the exhibition we had two practice runs, or dress rehearsals, where we performed for the visiting elementary and middle schools of our village. We alternated performing with the actual groups students would be singing with.
When we performed during exhibition, we alternated with four groups and four time slots playing at the three different locations throughout the campus. Our first location had students performing for many of their own friends and family as they came in to the area of the interdisciplinary teen health awareness exhibition. The second location had students singing next to the food area outside rad by the Padres Unidos, the same group of Spanish speaking parents they had interacted with in Phase 1. Finally students would perform in a different wing of the building occupied mostly by students and their families from different grades, as well as the general public.