EXPLORING OUR VALUES THROUGH POETRY A Tapestry of Faith Program for Youth High School

LISTENING AND SPEAKING WITH POETRY: AN INTRODUCTION

Breathe-in experience, breathe-out poetry.

The first workshop focuses on providing essential orientation and vocabulary to engage participants as they delve into the program's poetry curriculum Activity 2, titled "The Poet's Tools," offers valuable information that will serve as a foundation for future discussions about poems It's important to present this material in an engaging manner without overwhelming participants with excessive details about poetic devices; their goal is to grasp the concepts rather than memorize them To aid ongoing reference, ensure that the poet's tools are clearly listed on newsprint during the activity for participants to refer back to throughout the program.

 Introduce the idea of using poetry to explore major questions in our lives

 Engage participants in various ways of approaching, using, making, and learning from poetry

 Optional: Invite participants to create a covenant

 Analyze the tools of poetry and practice discerning the use of those tools in poems they read

 Use these tools to write poetry

 Reflect upon the nature of poetry

 Begin the process of reviewing their personal relationship to poetry

 Experiment with the differences between prose and poetry

 Optional: Lay the expectations for a covenantal relationship

 Optional: Engage with a difficult life issue in a creative way

Faith in Action: Creative Engagement with

Alternate Activity 1: Five Questions 10 Alternate Activity 2: Covenant Building 10

In today's introductory workshop, participants will express their feelings about poetry, an art form many may appreciate, including those who volunteered to lead the program However, some attendees might hold negative preconceptions about poetry, which could impact the workshop's atmosphere Sharing a personal story about a positive experience with poetry can help foster a more engaging environment By conveying your enthusiasm and passion for poetry, you can significantly enhance the group's overall experience, as individuals of all ages tend to prefer teachers who are genuinely passionate about their subject.

In designing a workshop opening, your group has the chance to craft a distinctive introduction If you prefer a traditional workshop opening, you are welcome to utilize that instead of the suggested phrases provided.

Gather around the chalice and take a moment of silence to focus on the word "poetry." After about fifteen seconds, invite participants to share a word or two that they associate with poetry Once everyone has had the opportunity to speak, conclude by expressing a wish for the space created to be expansive enough to embrace all individual ideas and deep enough to nurture them, allowing for growth and new beginnings.

To introduce today's workshop, say,

Experience poetry in a new and engaging way! These workshops are designed for everyone, regardless of their poetry expertise All you need is an open mind and a spirit of adventure to enrich your understanding and appreciation of poetry.

This program aims to free us from preconceived notions about poetry, fostering curiosity about its creation and encouraging both individual and group engagement with the art form.

In this program, we will delve into a variety of poems, focusing not just on analysis but on exploring their ideas and language Through individual and group activities, we will use poetry as a means to connect with our personal truths and with each other Our discussions will emphasize personal interpretations, allowing for diverse perspectives without right or wrong answers Ultimately, we will culminate our experience with a Poetry Slam, where we can present our work alongside that of others.

In order to create space for less assertive participants to speak, allow several seconds of silence to pass before closing the chalice lighting.

ACTIVITY 1: WHAT IS A POEM? (10 MINUTES)

 Photocopy Handout 1, "Introduction to Poetry," (included in this document) one copy for each participant.

To determine if a piece qualifies as a poem, write "Is It a Poem?" at the top of a sheet of newsprint Create two columns, labeling one with a + (plus) sign for positive responses and the other with a - (minus) sign for negative responses This structured approach will help in evaluating the characteristics that define poetry.

Participants share their experiences with poetry and imagine how this program will be different.

Invite the youth to express their thoughts and emotions about poetry, setting a welcoming tone for today's workshop and the overall program Encourage participants to share their previous experiences, knowledge, and perceptions regarding poetry, ensuring that all responses are valued This initial discussion will provide insight into the group's starting point in their poetic journey and actively engage them in the upcoming work and learning activities.

If needed, use these questions to prompt discussion:

 What poems are familiar to you? Do you have any favorites? If so, what are they?

 Can you recite a poem? If so, why do you remember the words of this particular one?

 Have you tried to write a poem? How did that go?

 What is your definition of a poem?

If you like, share these definitions of a poem, from the American Heritage Dictionary (from Dictionary.com The

American Heritage Dictionary of the English Language,

Fourth Edition New York: Houghton Mifflin Company,

A poem is a creative verbal composition that vividly expresses experiences, ideas, or emotions through imaginative language It employs carefully chosen words for their sound and suggestive power, utilizing literary techniques such as meter, metaphor, and rhyme Unlike prose, poetry is structured in verse, enhancing its artistic expression.

When exploring poetry, it's important to understand that a definitive definition or consensus is unlikely to emerge Participants should remain mindful of the key questions and issues as they delve deeper into the poetic experience.

Two volunteers should read Handout 1, "Introduction to Poetry," aloud, with a thirty-second pause between readings Afterward, engage participants by asking if their previous experiences with poetry connect to Billy Collins' views on discussing the subject Allow time for responses, and then prompt them to consider the significance of the poem's title.

In the workshops, we aim to foster meaningful discussions about the significance of each poem without overwhelming participants To enhance our conversations, establishing a shared vocabulary will be beneficial for everyone involved.

You will introduce some vocabulary words in the next activity.

Photocopies of poems should always be in an easy-to- read font and font size Be prepared to help struggling readers with difficult words.

 Singing the Living Tradition, one per participant

 Optional: Dry erase board and markers

 On newsprint or a dry erase board, write these two questions: o What do we have here? o What is the big idea?

 Write the terms below on a page of newsprint

To ensure the longevity of your newsprint during the program, it’s essential to write clearly and consider laminating the sheet Key elements to focus on include figurative language, the structure of form, line, and stanza, as well as sound, rhythm, and repetition, all of which contribute to the overall tone and form of the work.

In this activity, you will present participants with a common vocabulary to use in poetry discussions

Offer the group two reasons for reading a poem aloud twice:

 To hear the poem in more than one voice

 To help us fully absorb the poem

Ask participants to open the hymnal Singing the Living

Tradition and find reading 490, Mary Oliver's poem "Wild

Geese." Invite two volunteers to read the poem aloud Allow thirty seconds between readings.

When analyzing a poem, it's beneficial to ask two key questions, starting with "What do we have here?" This approach allows us to explore the poem's content and pinpoint any confusing phrases or lines By doing so, we gain a deeper familiarity with the poem, ensuring a shared basic understanding among readers Additionally, this stage encourages the sharing of initial impressions and emotional responses to the poem.

Lead a discussion about "Wild Geese" to explore the question, what do we have here? Use these prompts:

 How does the poem make you feel? (sad? hopeful? melancholy?) Why?

 What is the poem's story? (Alternatively, you could ask, what happens in the poem?)

 Which words or lines are unclear or confusing?

SURPRISED BY BEAUTY

The glory of youths is their strength, but the beauty of the aged is their grey hair.

Today's workshop focuses on our experience of beauty

Taking time to appreciate beauty can rejuvenate our sense of awe and wonder This workshop features a guided meditation and offers various activity options across multiple sessions.

It also includes an alternate activity to help groups that wish to design a unique opening and/or closing ritual.

 Examine notions of beauty: our own notions and the notions of others

 Train participants to use meditation to notice more fully, and more often, the beauty that surrounds us each day

 Explore using words to articulate beauty

 Consider connections between beauty and spirit

 Optional: Encourage youth to help publicize alternate views of beauty

 Reflect upon their own standards of beauty and have the opportunity to revise them

 Increase their awareness of the beauty around them through meditation

 Explore how poetry can elucidate our notions of beauty

 Optional: Share examples of beautiful behavior with others

Activity 1: In Search of Beauty, Part 1 15

Activity 3: Meditation on Beauty 15 Activity 4: In Search of Beauty, Part 2 10 Faith in Action: Beauty Is as Beauty Does

Alternate Activity 1: My Beautiful Poem 20

Alternate Activity 2: Designing an Opening and Closing 10

Spiritual preparation often involves reflective questions, but it's essential not to overanalyze Before today's workshop, take a moment to immerse yourself in beauty by visiting a public garden, art museum, or playground Enjoy your favorite restaurant or listen to music, allowing yourself to indulge in beauty with all your senses Embrace this experience and simply enjoy the moment!

Use the Opening designed by your group or the one provided below.

Gather around the chalice and take a moment of silence to focus on the word "beauty." After about fifteen seconds, encourage participants to share a word or two that they associate with beauty Once everyone has had the opportunity to speak, conclude by expressing the hope that the space created today is broad enough to encompass all individual ideas and deep enough to nurture those ideas, allowing them to flourish and inspire new beginnings.

Poetry is intrinsically connected to beauty, whether through its subject matter, its aesthetic qualities, or its ability to inspire In this exploration, we will enhance our understanding of beauty by reflecting on how poetry communicates this concept and by sharing our personal insights on beauty We will also consider whether there is a universally accepted notion of beauty and examine the impact that experiencing beauty has on our spirit.

ACTIVITY 1: IN SEARCH OF BEAUTY,

 Newsprint or dry erase board and markers

 Pen or pencils and journal

Choose an appropriate location for the activity, considering whether to opt for an outdoor setting that allows for the observation of nature and people or an indoor environment that, while potentially more limited, can still offer its own unique beauty Additionally, determine the duration of the activity to enhance participants' experience.

In this activity, participants search for beauty and report back to the group.

Give the following instructions to the group:

In just a moment, you'll embark on an exploration of your surroundings with the simple mission of seeking out beauty Take note of everything you perceive as "beautiful" in your journal, and we will gather again in five minutes to share our findings.

Make yourself available to answer questions, but do not offer suggestions or in any way define what might be beautiful.

When participants gather again, ask them a straightforward question: "What beauty did you find?" Record their answers on newsprint without reacting or analyzing trends until all responses are collected Keep the list of "beauty" visible in the room for future reference during the lesson.

Use the following prompts to discuss the nature of beauty:

 How have your ideas of beauty changed as you have grown up?

 What does beauty have to do with values or how we value different people, places, and things?

 What does Unitarian Universalism have to say about beauty?

Beyond our Unitarian Universalist community, we are part of various groups such as our teenage circles, softball teams, and families Each of these affiliations contributes to our understanding of beauty, reflecting diverse perspectives and values that shape our appreciation for the world around us.

 Who decides what beauty is? What voices outside ourselves tell us what beauty is? Is there a cultural consensus about beauty?

NOTE: This discussion can easily fill your lesson time Set a time limit!

If going outdoors is an option, make sure the area to which group members will go is accessible to all participants

 ¨Handout 1, “The Prophet on Beauty (included in this document) ”

 Photocopy Handout 1,”The Prophet on Beauty”, one for each participant.

Participants use a poem to reflect upon what we call

Distribute Handout 1,”The Prophet on Beauty” Invite two or three volunteers to read the poem aloud Allow thirty seconds of silence to pass between readings.

Lead a “What do we have here?” discussion, using these questions:

 This handout is a chapter from the book The

Prophet, which is composed of twenty-six

“poetic essays” Should we consider this a poem? Why or why not?

 What is the poem about?

 Why is beauty spoken of as “she”?

 How do the lines “All these things have you said of beauty Yet in truth you spoke not of her but of needs unsatisfied”, explain the preceding lines?

Use these questions to lead a “What’s the big idea?” discussion:

 What does this poem have to say about true beauty? Do you agree or disagree?

The poet describes beauty as an image perceived with closed eyes and a song heard with shut ears, suggesting that true beauty transcends physical senses Reflecting on moments of beauty that linger in our memories can evoke profound emotions, reminding us of experiences that resonate long after they have passed.

 The author also speaks of beauty being unveiled When have you been surprised by unexpected beauty?

 Leader Resource 1, Beauty Meditation (included in this document)

 Journals and pens or pencils

 Optional: CD player and music

 Review Leader Resource 1, Beauty Meditation.

 Arrange the room for a comfortable meditation, making sure you have enough comfortable seating for all participants.

 If you plan to play soft music in the background, set up a CD player and music.

Participants meditate on beauty and then make notes about images that came to mind

Guide participants through the Beauty Meditation exercise as detailed in Leader Resource 1 Following the meditation, provide time for attendees to reflect and jot down any images or thoughts that emerged during the session in their journals.

ACTIVITY 4: IN SEARCH OF BEAUTY, PART 2 (10 MINUTES)

 Pens or pencils and journals

Participants find out if their sensitivity to beauty was heightened by the meditation and/or discussion.

Tell the group they are going on another hunt for beauty. Say,

Carry the tranquility and mindfulness from our meditation, along with the gentle insights from today's poem, as you revisit familiar places Your objective remains unchanged: seek out beauty Document your discoveries in your journal and return in five minutes.

When participants reconvene, invite volunteers to say what they found this time Lead a discussion, using these questions:

 What did you see that was new? (Add to the list you started in Activity 1.)

 How was your search affected by the meditation? By the poem and discussion?

Finally, help participants reflect more deeply on beauty, poetry, and faith Ask:

 What, if anything, changed between your first and second hunt for beauty?

 Why did (or didn't) your observations change?

 How does Unitarian Universalism help us see beauty? Does worship play a role in appreciating beauty? In what other ways does congregational life relate to beauty?

 What do we need to cultivate within ourselves in order to be continually "surprised by beauty"?

 Singing the Living Tradition, one for each participant

 If hymnals are not always available, you might want to print the words below on newsprint and post them in the meeting room

Use the Closing designed by your group or the one provided below.

Recite together Reading 712 from Singing the Living

Do not be conformed to this world, But be transformed by the renewing of your minds.

FAITH IN ACTION: BEAUTY IS AS

 Pens or pencils and paper

Participants explore how art can be used not only to imitate life, but to hold up higher aspirations to people

Invite participants to think about the common saying

The phrase "beauty is as beauty does" emphasizes that true beauty is reflected in one's actions rather than mere appearance Participants are encouraged to think of individuals, famous or not, who embody this principle through their kind deeds This could include heartwarming stories, such as a pet heroically saving a life or a generous elderly neighbor who opens their yard to local children for play.

Encourage participants to compose poems celebrating the beautiful actions of individuals, incorporating variations of the word "beauty" within their verses or introductions This exercise promotes a redefined perspective on beauty, urging a shift in focus from appearances to the importance of our treatment of one another.

If you're looking to share your children's poetry, consider submitting your work to Potato Hill Poetry, which features online publications for young audiences at www.potatohill.com/magazine.html Another excellent option is the Louisville Review, where you can submit your poems at www.spalding.edu/louisvillereview/submission.htm.

Children's Corner; or to your local literary magazine; or to your district youth and adult committee newsletter.

Collaborate with your co-leader to evaluate the success of various activities in the workshop, identifying which ones were effective and which required modifications Assess whether the movement level was well-received by the participants and note how easily everyone returned to the meeting space when called back These logistical insights are crucial for improving future workshops.

Discuss the guided meditation, as guided meditations are offered as activities in several workshops If it was successful, why was it? If not, what could you have done differently?

The glory of youths is their strength, but the beauty of the aged is their grey hair.

KEENLY OBSERVING NATURE

Those who contemplate the beauty of the earth find reserves of strength that will endure as long as life lasts.

Today's workshop invites participants to explore their spiritual connections to nature, with the possibility of holding part of the session outdoors to enhance this theme In our fast-paced world, it is increasingly challenging for youth to engage with the natural environment Consider extending the workshop or adjusting activities to allow participants more time to appreciate and observe the beauty of nature.

 Engage youth in reading and discussing a poem about nature

 Use poetry as a way to experience and think about the natural world and our relationship to it

 Guide participants to observe the natural world

 Utilize the participants' sensory experiences to create poetry

 Optional: Give participants an opportunity to gift their community with a butterfly garden

 Optional: Expose participants to music about nature.

 Share personal connections to the natural world

 Open their senses in order to use their powers of observation fully

 Experience conveying sensory information through poetry

 Identify a Principle that talks about our relationship to the natural world

 (Optional) Share the joy of nature with their community

 (Optional) Appreciate music as a poetic tool for expressing the beauty and wonder of nature

Activity 1: Loving Nature 10 Activity 2: A Sensory Meditation 40 Faith in Action: The Gift of a Garden

Alternate Activity 1: UUs and Nature 10 Alternate Activity 2: Nature Music 10

Embrace the theme of nature by spending time outdoors in preparation for today's workshop Consider your favorite outdoor activities, whether it's gardening, hiking, enjoying picnics, or watching football games Reflect on how these experiences connect you to your spiritual life and the natural world Think about specific places or seasons that deepen your connection to the earth and whether these feelings are tied to past experiences.

You can ponder these questions or simply enjoy being outside, being part of the earth that sustains us all Blessed be!

Gather around the chalice and take a moment of silence to focus on the word "nature." After about fifteen seconds, invite participants to share a word or two that they associate with "nature." Once everyone has had the opportunity to speak, conclude by expressing the hope that the space created today is expansive enough to embrace all individual ideas and deep enough to nurture those ideas, allowing them to flourish and inspire new beginnings.

Introduce today's workshop by saying,

Simplicity and miracles coexist in the natural world, yet we often overlook its beauty in our haste Poetry has traditionally drawn inspiration from nature, offering solace and perspective This workshop invites participants to forge joyful connections with the natural world, recognizing the inherent wonder within all creatures, including ourselves, while encouraging us to slow down and truly observe our surroundings.

 Handout 1, "A Nature-Lover Passes," by Daniel

 Photocopy Handout 1, "A Nature-Lover Passes," one for each participant.

Participants read, hear, and discuss a poem about nature

Use one of these questions to lead a warm-up discussion:

 What, to you, is the most amazing animal, place, or phenomenon in the natural world? What makes it so?

 What animal do you wish you could be more like? Why?

Distribute copies of Handout 1, "A Nature-Lover Passes." Invite two volunteers to read the poem aloud Allow about thirty seconds of silence after each reading.

Use these questions to lead a "What do we have here?" discussion about the poem:

 What happens in the poem?

 Which lines lose or confound participants?

This poem highlights an old tradition in parts of Great Britain where families would inform their beehives of a relative's death, a practice believed to prevent the bees from leaving or dying The ritual involved the oldest and youngest family members visiting the hive and sometimes tying a ribbon around it The origins of this custom remain unclear, prompting reflection on its significance and what it reveals about our connection to nature The decline of such traditions raises questions about the importance of our relationship with the natural world.

Lead a "What's the big idea?" discussion Use these questions:

 This poem is about death How does it make you feel: peaceful, hopeful, melancholy? Why?

The poem portrays a nature lover, evoking thoughts about individuals who share this passion One might wonder how such nature enthusiasts would perceive the depiction of death within the poem Their deep appreciation for the natural world could lead them to view death as a transformative part of life, reflecting the cycles of nature and the interconnectedness of all living things.

 Does this poem relate to any of the seven Principles? How so?

 Newsprint and markers, at least one sheet and marker for each participant

 Make sure each participant has a comfortable place to sit.

Participants will use their senses to meditate on or experience the natural world.

Provide each participant with a sheet of newsprint and a marker, but ask them to set these aside for now Lead them through a guided observation experience, which can be conducted indoors or outdoors If you choose the outdoor option, direct the participants to an area where they can walk and explore while remaining within earshot.

For the meditation, ask participants to close their eyes

Let them know you will lead them in the following guided meditation Use a voice that is calm, but not too quiet

Close your eyes and bring to mind a spot in the natural world that you love and know very well.

Wait about thirty seconds Then say,

Visualize yourself in your chosen location, immersing yourself in the experience As you stroll leisurely, pay attention to the sensation of your feet touching the ground, enhancing your connection to the environment.

Wait about fifteen seconds Then say,

Now find a spot in your imagined place to sit or stand Settle in.

Take a deep breath in and out You have arrived, safely and calmly, in this beautiful place you know so well.

Look around What do you see?

Look closely at something that catches your eye, perhaps something you've never looked so closely at before

Touch it gently if you can and if you want to, or just observe it keenly and closely.

What is its shape? Its texture? How does it function in its surroundings?

Once again, inhale deeply and exhale.

When you inhale again, gently notice any scents, strong or subtle.

Continue to breathe and continue to notice elements of your surroundings

What does your body feel like in this place? Do you feel warmth or cold on your face? Wet or dry? Wind or stillness? Are you relaxed?

Allow another minute or two to pass Then guide the youth out of the meditation by saying,

As you take your next breath, start to reconnect with the present moment Shortly, we will open our eyes while vividly holding onto our special place in our mind and senses.

As participants open their eyes, say,

On your newsprint, complete the statements I am about to give you about the place you visited in the meditation

Do not write the sentence starter itself.

Slowly read the sentence starters to the group, allowing time after each for participants to think and write.

 On my body and on my face, I feel

 When I stand or sit still, I hear

 When I listen very closely, I hear

 This place makes me feel

 (And, once again), around me, I see

Direct participants to read the lines they wrote, silently to themselves Ask them to evaluate whether the lines capture the magic this particular place holds for them.

Invite volunteers to read aloud the lines on their newsprint, in order Volunteers may wish to name the place afterward, or other participants may wish to guess.

Poets are keen observers who utilize all their senses to convey experiences, much like the group did during guided meditation Through poetry, individuals can express a location, emotion, moment, or sensory experience to others The sensory observations participants noted during meditation and recorded on their newsprint resemble a raw form of poetry.

Use these questions to lead a discussion:

 Which of the lines from your raw poems are most important? Which of the senses you expressed are most important?

 Would you describe yourself as a keen observer of nature? If not, what keeps you from being one?

 If you are a keen observer, how would you explain to someone else how to be one?

Invite participants, now or independently, to continue crafting their raw poems into finished poems Suggest that they copy the raw poems into their journals.

FAITH IN ACTION: THE GIFT OF A

 Varied; see Leader Resource 1, Butterfly

Garden (included in this document)

 Handout 2, Tips on Caring for Your Butterfly

Garden (included in this document)

 Before presenting this idea to participants, seek support from others in the congregation, particularly the religious educator, Board of

Trustees, minister, and fund-raising committee

A congregation with an active committee engaged in community activities can greatly enhance support for local initiatives These congregational supporters can play a crucial role in reaching out to local schools and school boards, facilitating fundraising efforts, promoting events, and providing essential manpower.

When considering potential recipients for a butterfly garden, local schools are likely to show significant interest due to their access to a steady stream of volunteers for maintenance Other suitable recipients include assisted living facilities, medical centers, and city parks, as well as organizations like the Ronald McDonald House and treatment centers for mental health or drug rehabilitation, all of which could benefit from the uplifting presence of flora and fauna It's beneficial to come prepared with suggestions to share with the group during the planning activity.

 Photocopy Handout 2, Tips on Caring for Your Butterfly Garden, one for each participant

In this activity, participants design and build a community butterfly garden.

Have you ever observed a butterfly gracefully moving from one flower to another? Reflecting on that experience can be quite enchanting Many elementary schools engage students in a hands-on activity where they raise caterpillars into beautiful butterflies Have you participated in such an activity?

Then say, in your own words,

Butterfly gardens are a popular way for people to attract and enjoy the beauty of butterflies Many individuals specifically plant these gardens to create a vibrant environment for these insects Have you ever seen a butterfly garden, or do you know where one is located? Creating a butterfly garden can be a rewarding and enjoyable activity that benefits both nature and the community.

Provide an overview of the garden project, detailing associated costs and the potential need for fundraising or donations Refer to Leader Resource 1, Butterfly Garden, which is applicable to any site, including local schools Encourage participants to share the benefits of creating a garden, recording their responses on newsprint If "sharing the beauty and wonder of the natural world" is not mentioned, propose it as a valuable goal for the project.

WHO AND WHAT GUIDES US?

Teachers open the door You enter yourself.

This workshop encourages participants to expand their perspectives on teachers and learners, fostering an environment for personal reflections, discussions, and writing It is essential to conduct this workshop with a group that has already developed a level of comfort and bonding, as this will enhance the sharing of personal experiences.

This workshop features a guided visualization as an alternate activity, allowing participants to focus on spiritual teachers and guides, distinct from the life lesson teachers emphasized in the main sessions For a more in-depth exploration of spiritual guides, consider integrating both alternate activities with Activity 3, Life Lesson Poems, to enrich the workshop experience.

Revise the Activity 3 guidelines to encourage participants to share a spiritual life lesson that has deepened their connection to others, nature, their faith, or the universe as a whole.

 Use poetry to explore our relationship to our spiritual and lifetime teachers, both human and nonhuman

 Remind us that sometimes teachers and teachings come in unlikely forms

 Encourage participants to write a poem about a teacher

 Optional: Provide an opportunity for participants to thank a past teacher

 (Optional) Use a guided meditation to envision a spiritual guide

 (Optional) Engage youth in making a bracelet

 Acknowledge and honor sources of guidance in their lives

 Experience poetry that illuminates the teacher/student relationship in new ways

 Express, through poetry, a lesson learned from a guide in their life

 Optional: Express thanks to someone from whom they have learned a life lesson

 Optional: Identify a personal spiritual guide through a guided meditation

 Optional: Create a visual reminder of their connection to their spiritual guide

Activity 2: Learner vs Teacher 15 Activity 3: Life Lesson Poems 15 Faith in Action: Belated Thanks 15

Alternate Activity 1: Meeting Our Spiritual

In today's workshop, we will delve into the dynamic relationships between learners and teachers, where the facilitator assumes a teaching role Reflect on your own experiences as a teacher and the insights gained from those situations Maintaining a circular model, where teachers also learn from their students, can be challenging in these settings One effective way to embody this model is by openly acknowledging when you learn from participants or activities, thus demonstrating the value of lifelong learning However, it's important to ensure that your personal learnings do not overshadow the group's focus This workshop serves as a foundational step toward achieving a balanced approach to these interactions.

Gather around the chalice as a volunteer lights it, inviting the group to silently reflect on the phrase "spiritual guides." After about fifteen seconds of contemplation, encourage participants to share a word or two that resonates with them regarding "spiritual guides."

When everyone who wishes to speak has had a chance to do so, close by saying,

Let the space we cultivate today be expansive enough to embrace our diverse ideas and profound enough to nurture their growth, enabling them to flourish and produce seeds for fresh opportunities.

Spiritual teachers play a vital role in our personal growth, offering guidance and lessons that can profoundly impact our lives While our culture often promotes independence, seeking wisdom from a mentor is not a sign of weakness but rather a recognition of the sacred bond that can exist between teacher and student Great teachers can take various forms, and the lessons they impart can help us absorb and embody their teachings in our everyday lives.

Poetry encourages us to embrace openness towards our teachers, emphasizing the importance of recognizing a good mentor It is essential to balance their guidance with our personal values and insights, allowing us to fully internalize and apply the lessons learned.

 Pens or pencils and journal

Write each of the following prompts on newsprint (two per sheet) or on the dry erase board, leaving room around each for participant's comments:

 Argument with an authority figure

Responding to prompts from the leader, participants write and then share what they have learned from guides, teachers, and experiences.

Participants are required to write a response to each prompt provided; if they have no response, they should indicate this by writing "NA" for Not Applicable After completing the exercise, they can revisit any prompt to elaborate further if desired For the initial phase, a brief one-line note will suffice, and they will have one minute to respond to each prompt.

Read aloud the prompts below, flipping the corresponding newsprint pages as you go: What have you learned from

 an argument with a parent or other authority figure?

 a difficult break-up or a friend's rejection?

 a disagreement with your church or religion?

 your own intuition, an inner voice?

Encourage participants to respond to the nine prompts and document their answers on the designated newsprint or board As you collect responses, highlight any emerging trends to facilitate discussion and insight.

Life experiences and the influence of people around us, whether they are intentional guides like teachers or historical figures like Jesus, can impart valuable lessons While we often seek wisdom from these individuals, unintentional experiences in our daily lives can also teach us significant insights about ourselves The recent exercise highlighted the importance of recognizing both personal interactions and life events as sources of learning, emphasizing that meaningful lessons can arise from various aspects of our journey.

Use the following questions to start a discussion about life lessons:

 Is it possible to look around and decide who or what we will go to for guidance, or do our guides, teachers, or lessons somehow find us?

 Do you learn more from painful experiences or from pleasurable ones?

 Do you learn on the spot, or can the learning hit you later?

 How can we recognize an unusual teacher or lesson that comes our way?

 Have we left out any life guides? What or who?

What did you learn from them?

 Handout 1, "A Story,” (included in this document) by Jane Hirshfield

 Handout 2, "Love in the Classroom,” (included in this document) by Al Zolynas

 Photocopy Handouts 1, "A Story" and 2, "Love in the Classroom," one for each participant.

Distribute Handout 1, "A Story," to all participants and invite two or three volunteers to read the poem aloud Allow a pause of about thirty seconds between readings before proceeding to the following questions.

Lead a "What do we have here?" discussion about the poem Use these questions:

 What is the story of the poem; what is it about?

 What is being taught, and what is being learned?

 Who or what are the teachers? Who or what are the students? Do only humans fill the roles? Is the bird in the poem a teacher?

Use these questions to lead a "What's the big idea?" discussion about the poem:

 What does the mother in "A Story" not want her daughter to see? Why?

 Is there an "a-ha!" moment in "A Story"? Who has a big realization, and what is it?

 Why is it that children are sometimes more effective teachers than adults?

Distribute "Love in the Classroom" handouts to all participants and invite two or three volunteers to read the poem aloud Allow a thirty-second pause between readings before engaging with the following questions.

Lead a "What do we have here?" discussion about the poem Use these questions:

 What is the story of the poem; what is it about?

 What is being taught, and what is being learned?

 Who or what are the teachers? Who or what are the students?

Lead a "What's the big idea?" discussion, using these questions:

 Is there an "a-ha!" moment in "Love in the Classroom"? What is it?

 What does the speaker mean when he says,

In the poem, language and musicality intertwine, creating distinct fragments that enhance its overall meaning The structure showcases varied forms, allowing for the emergence of fragmented thoughts and emotions Through these linguistic and auditory elements, the poem invites readers to explore the interplay between disconnection and coherence, revealing deeper insights into its themes Each fragment, whether in the rhythm or the choice of words, contributes to a rich tapestry of expression, encouraging a deeper engagement with the text.

 What does music contribute to the poem? What does it contribute to the speaker's understanding? Is the music in "Love in the Classroom" a teacher?

 Why does the speaker in the poem say that he keeps a "coward's silence"? What does he hold back? What is he afraid of?

 What lesson does the class give their teacher?

Do you think the students know the impact they are having on the teacher?

Have you ever wondered if your parent or teacher experiences deep emotions or intricate thoughts while guiding you? Reflect on moments, whether recent or from your childhood, when an adult might have gained insight or learned valuable lessons from your perspective.

 Who and what have been your best guides and teachers? Do they know?

NOTE: A Few Words about the Poems

FINDING OUR MISSION

To be tested is good.

Many adults ponder the purpose of their lives, while youth are just beginning to explore similar existential questions The workshop's poem, "Perhaps," serves as a catalyst for discussions that help young people understand the compelling urge to pursue actions despite uncertain outcomes Activities designed to help youth identify their potential missions in life may yield varying degrees of success based on their maturity Nonetheless, even if participants struggle to articulate their missions, these activities provide essential starting points for discovering a deeper sense of purpose in their lives.

 Use poetry to reflect upon having a mission in life

 Invite participants to ponder how we have come to think about our mission, our journey, our path

 Inspire participants to create poems that reflect their personal experiences and individual missions

 Optional: Engage participants in writing an interfaith prayer

 Identify possible missions—things they feel compelled to do—in their lives

 Examine how pivotal events in their lives may have helped shape what they see as their mission in life

 Shape personal experiences and a sense of purpose into poetry

 Optional: Explore how interfaith prayers can be crafted to be inclusive of many faith traditions

Activity 1: In Pursuit of a Mission 20 Activity 2: Jazz Poems 25 Faith in Action: Interfaith Prayers 30

This workshop is dedicated to exploring personal missions and the sense of purpose that drives individuals Participants will engage in activities designed to help youth identify their motivating missions As a facilitator, it’s essential to reflect on your own mission in leading this program—consider why you are working with youth and what you aim to achieve Your mission could involve fostering an appreciation for poetry or exploring the emotions that connect us as humans Keeping your sense of purpose at the forefront while planning and conducting the workshops can enhance the overall experience for both you and the participants.

Gather together around the chalice and take a moment of silence to reflect on the phrase "life's mission" as a volunteer lights the chalice After about fifteen seconds, encourage participants to share a word or two that resonates with them regarding "life's mission." Once everyone has had the opportunity to express their thoughts, conclude the session with a closing remark.

Let us cultivate a space today that is expansive enough to embrace our diverse ideas and profound enough to nurture their growth, enabling them to flourish and generate seeds for fresh beginnings.

If you did not get a chance to share the poems that youth wrote during Workshop 4, Activity 2, Spiritual

Guides Poems, share them now Then introduce today's workshop by saying,

From a young age, we experience a sense of flow when engaging in activities that feel inherently right, whether it's playing sports, making authentic choices, or connecting with others Identifying our talents is crucial, but it raises questions about whether using these talents will guide us to our true path or mission in life We wonder if we need to actively seek our mission or if it will reveal itself to us, and whether everyone has a unique mission to pursue.

"heed the call" to live our lives as authentically as possible and follow our own path?

In this article, we will delve into the significance of uncovering our talents and understanding our life’s mission through poetry, discussion, and writing We will explore how having a clear mission in life can profoundly influence our spirit and overall well-being.

ACTIVITY 1: IN PURSUIT OF A MISSION (20 MINUTES)

 Handout 1, "Perhaps,” (included in this document) by Shu Ting

 Photocopy Handout 1, "Perhaps," one for each participant.

Distribute copies of the poem to all participants and invite two or more volunteers to read it aloud Ensure there are thirty-second pauses between each reading and after the final one Following the readings, facilitate a discussion using the prompt, "What do we have here?" to encourage engagement and reflection on the poem's themes and meanings.

 What feelings or emotions does the poem evoke?

 What words or lines are unclear to you?

Lead a "What's the big idea?" discussion.

The first and second stanzas of "Perhaps" present contrasting scenarios regarding the pursuit of a mission, with the first conveying a pessimistic outlook and the second offering a more optimistic, yet nuanced perspective The noticeable gap between the stanzas invites reflection on the shift in tone and meaning In the first stanza, the outcomes share a sense of inevitability and disappointment, while the second stanza suggests possibilities that, although hopeful, still acknowledge uncertainty These differing groups of "perhapses" embody distinct worldviews: the first reflects a more cynical or realistic viewpoint, while the second leans towards optimism tempered by caution Readers may find themselves resonating more with one worldview over the other, influencing their interpretation of the poem's overarching message.

In the poem, the concept of "mission" is explored through various clues that suggest certain outcomes are more likely to manifest The poet implies that individuals can influence these outcomes, hinting at a sense of agency in determining their path However, the speaker's expectation of a specific result raises questions about their level of investment in the outcome The phrase "We have no choice" suggests a feeling of inevitability or lack of control over one's mission Additionally, the use of the word "irresistible" conveys a powerful, compelling drive towards one's purpose, highlighting the intensity of this sense of mission.

"powerful," "strong," or "compelling" do the same job? Why or why not?

Hand out paper and pen/pencil to each participant

Direct participants to list every aspect of themselves and their lives in which they "have no choice." Give the group two or three minutes to write

Invite volunteers to offer a few items they jotted down

Then direct participants to think about the reasons why they "have no choice" for each item on their list, and provide these instructions:

 If you have no choice because an outside authority prohibits the item, cross it off the list; examples: drive a car, go to school barefoot.

 If you have no choice because of physical or other inherent limitations, cross the item off the list; examples: eat popcorn (braces), have a pet cat (allergic), buy a yacht (financial).

The remaining items on the list will probably be things that participants feel they MUST do (as opposed to

CANNOT do) Make sure the difference is clear to them.

In this exercise, participants will explore the aspects of life that are beyond their control and must be addressed To facilitate this, they should create two columns on a blank sheet of paper, labeling one column with "Things We Cannot Change" and the other with "Actions We Must Take." This activity encourages reflection on unavoidable circumstances while identifying proactive steps to navigate them effectively.

Under "I must," have participants rewrite the remaining items about which they have no choice Under

"Because," have participants write the reason why they must do each thing For example:

 I must do my homework / Because I will be punished and/or get poor grades if I do not.

Allow the group a few minutes to finish the exercise, then invite volunteers to share their personal "must do" items and the underlying reasons Check if anyone mentioned an "irresistible sense of mission" as a driving force behind their commitments If participants identified tasks they feel compelled to undertake for intrinsic reasons, they may have uncovered their personal mission.

 I must practice basketball every day /

Because I want to the be the best player on my team.

 I must pick up litter whenever I see it / Because I would not feel right if I just ignored it.

Invite volunteers to share what they have discovered Lead a discussion to further explore the nature of a

 Does a mission have to be for the betterment of others, or can it be for the betterment of you alone?

 Is it important to have a mission in your life?

 How do you think having a mission or a sense of purpose in life affects your spirituality?

 One set of three different colored sheets of paper for each participant; or three sheets of white paper and three different colored markers for each participant

 Optional: Jazz CDs and CD player

 Optional: Scissors, glue, and extra paper for collage

 If you plan to play jazz music during this activity, have your CD/tape player and music ready.

 On a dry erase board or on newsprint, write: o MOMENTS o MISSIONS o ADVICE

 For each participant, prepare either a set of colored paper or three colored pencils/markers and three sheets of white paper, as listed in Materials for Activity.

To enhance creativity, provide participants with scissors, glue, and extra paper, enabling them to craft jazz poems as collages rather than traditional written pieces For detailed instructions on this activity, refer to Alternate Activity 1, Poetry Collage.

Participants use their formative experiences, values, and ideas to create mission jazz poems

This activity encourages individuals to delve into their personal missions or life paths by utilizing their unique experiences and reflections as inspiration for crafting a mission jazz poem By engaging in this creative process, participants can gain deeper insights into their journeys and express their identities through the art of poetry.

Share with participants that Shu Ting is a contemporary

Gong Peiyu, a Chinese poet, began her literary journey during the Cultural Revolution while working in the countryside Her career has faced interruptions due to severe government criticism and accusations of subversion Reflecting on her experiences, one may wonder how the events in Shu have influenced her work.

Ting's life helped shape a sense of purpose or mission in her writing?

Distribute pencils/markers and three sheets of paper to each participant.

Give the following instructions, allowing one minute between each instruction for participants to complete the step Refer to the words you wrote on newsprint or a dry erase board beforehand.

 On the first piece of paper, list the MOMENTS in your life that have made you who you are

These are likely to be moments of struggle, profound realization, change, or growth Limit each to one simple line, in the form of a statement

Create a separate list on a new sheet of paper using a different color, and quickly jot down your potential missions in a straightforward manner Aim to write as many as possible in a short amount of time.

CONSCIOUS LOVE: BETTER THAN ANY FAIRY TALE

With my poems, I finally won even my mother The longest wooing of my life.

Today's workshop explores the theme of romantic love through a diverse range of poetry, including song lyrics, Yeats, and urban hip-hop While romantic love is a universal subject in poetry, many young people have had limited exposure to it, leading some to find the theme unengaging or even embarrassing.

Gauge your group, and remember to keep the workshop fun and active.

 Identify and investigate cultural and personal ideas about romantic love

 Call upon poets' voices, including our own, to explore different aspects of love

 Address the question, how does one keep one's identity while falling in love?

 Optional: Compare and contrast love poems

 Optional: Provide ideas for organizing a Poetry

Pajama Party for children in the congregation

 Question and express their attitudes about romantic love

 Compare their notions of romantic love to those of society, as viewed through poetry and fairy tales

 Examine their feelings about one aspect of romantic love in particular: that of becoming

 Optional: Share their love of poetry with children by hosting a Poetry Pajama Party

Activity 2: Being Yourself in Love 20 Faith in Action: Poetry Pajama Party

Alternate Activity 1: Lyrics as Poetry 15

Alternate Activity 2: Perfect and Imperfect

This workshop explores the theme of romantic love, focusing on the popularity of love poems Consider your favorite love poem: does it present love realistically or in an idealistic manner? There are two primary perspectives on art: one that advocates for realism and another that promotes the reflection of ideal human behavior In reality, art often encompasses both approaches Which style resonates more with you—realistic or idealistic art? Your preference may reveal insights about your outlook on life.

Gather together around the chalice and take a moment of silence to reflect on the word "love" as a volunteer lights it After about fifteen seconds, encourage participants to share a word or two that they associate with "love." Once everyone who wants to speak has had the opportunity, conclude the gathering with a closing remark.

Let us cultivate a space today that is expansive enough to embrace our diverse ideas and profound enough to nurture their growth, enabling them to bear fruit and generate seeds for fresh beginnings.

Introduce today's workshop with these words:

From early childhood, we are exposed to idealized portrayals of love that shape our expectations of what love should be and its essential role in our lives However, as we grow, the reality of our experiences often clashes with these fantasies, revealing the complexities of our own sexuality and the unrealistic demands we place on our partners.

This workshop aims to explore the allure of romantic love while encouraging participants to consciously reflect on their definitions, experiences, and behaviors in romantic relationships.

 Art supplies, including drawing paper, pencils, markers, colored pencils, and other materials

 Newsprint or a dry erase board and markers

 Optional: CD player and music

To ensure that youth can work effectively in various environments, it's essential to provide them with designated spaces Additionally, regular check-ins and a reliable method for bringing them back to the shared area are crucial for maintaining productivity and collaboration.

Through drawing, participants visit their own notions of

"fairy tale love" and examine the difference between love and infatuation

To engage participants effectively, ensure everyone has a pen or pencil and their journal Prepare a piece of newsprint or a dry erase board by drawing two columns, labeling the left column "infatuation." Prompt the group to reflect and complete the sentence: "You know you're really infatuated when " in their journals.

Once participants have completed their writing, invite them to reflect on the phrase "You know you are really in love when " by placing it at the top of the right-hand column and encouraging them to finish the sentence in their own words.

After participants complete their fill-ins, encourage them to share their contributions Record each input or relevant phrases in the designated column As you gather these contributions, stimulate observations and discussions by posing thoughtful questions.

 What is the key difference between true love and infatuation?

 What causes us to mistake one for the other?

Provide art supplies and encourage the group to visualize their own fairy tale romance Invite them to create a drawing that captures their unique interpretation of true love, emphasizing the importance of authenticity by urging them not to edit their ideas, no matter how unconventional they may seem.

Encourage participants to spread out and begin drawing, informing them of the time allotted before they need to regroup If desired, play background music to enhance their creative experience Keep an eye on those who are not in the shared space, and provide a two-minute warning before the work period concludes to ensure everyone is prepared to reconvene.

When the group comes together again, invite volunteers to present their pictures in a show-and-tell format, while reassuring participants that they can opt out if they find their images too personal to share.

As volunteers present their drawings, invite each one to say more about his/her picture, using this question as a prompt:

 What would make your fairy tale more real but still retain its magic? What would the "reality" version look like?

Lead the entire group to explore these questions:

 What does Unitarian Universalism have to say about romantic love? How could we apply the principles of Unitarian Universalist faith to the notion of romantic love?

 Ask the following if participants have completed the Our Whole Lives program: What messages does the Our Whole Lives program send about romantic love?

 What does your faith tell you about a broken heart and ways to heal it?

 Photocopy Handout 1, A Rumi Poem, one for each participant.

Participants read a poem and explore their own views about a common theme in love poems: merging with another versus remaining an individual in a relationship

Invite participants to discuss the idea of merging themselves with another person Use these questions:

 What are some ways an individual can merge with another person? (You may suggest a few: physically, emotionally, socially, financially, and creatively.)

Individuals often merge with others due to deep emotional connections and subconscious desires for intimacy and belonging This merging can occur instinctively, driven by the need for validation, support, or shared experiences, often before we are fully aware of it Understanding the motivations behind this phenomenon can shed light on the complexities of human relationships and the unconscious forces that guide our interactions.

 What is the connection between falling in love and this sort of merging?

In relationships, a natural conflict often emerges between the desire to connect deeply with an attractive partner and the need to maintain individual independence While fairy tales typically overlook this struggle, it becomes evident as love evolves into a more realistic dynamic Participants are encouraged to share examples from movies, books, and real life that highlight this tension, such as a couple facing disapproval over one partner's choices, like a substance-abusing teen whose significant other is concerned about their habits Another relatable scenario is when one partner relocates for a job opportunity while the other prefers to stay put, illustrating the challenges of balancing personal aspirations with relationship commitments.

Guide the discussion further into exploring this type of conflict Challenge participants with this question: How can we fall in love without falling away from ourselves?

DIFFICULT TIMES

Difficult times have helped me to understand better than before, how infinitely rich and beautiful life is in every way

Freedom embodies the ability to question, explore, and make conscious decisions while being free from prejudice and recognized as unique individuals It represents the hope for a world transformed by love Both freedom and hope have long been fundamental values for Unitarians.

This workshop for Unitarian Universalists delves into themes of freedom and hope through poetry that addresses challenging topics such as incarceration, the loss of loved ones, and racism It emphasizes how faith and hope serve as powerful motivators, guiding individuals through personal and societal struggles toward a more hopeful future.

This workshop deals with topics that are more solemn than those of other workshops Gauge how well participants are able to think about these issues Activity

2, Death of a Loved One, might be difficult for a youth who has recently experienced a loss Check with your religious educator ahead of time.

 Examine poetry that looks at tough issues and how people face difficult times

 Allow participants to explore writing as a spiritual practice that helps process the emotions resulting from life's difficulties

 Optional: Offer an opportunity for the congregation to promote literacy and memorialize a deceased loved one through donating to Reading is Fundamental

 Recognize some of the common dilemmas of our human existence

 Reflect upon the way several poets and songwriters have explored these dilemmas

 Acknowledge hope as an important tool in our work to right society's wrongs

 Express shared truths about the human condition in writing

 Optional: Provide a means for congregants to honor a deceased loved one

 Optional: Discover UU hymns that express our beliefs in freedom and hope

Activity 2: Death of a Loved One 10

Faith in Action: Reading Is Fundamental

Alternate Activity 1: The Themes of Hymns 20

Alternate Activity 2: UUs Working Toward

Before beginning today's workshop, reflect on how themes like freedom, death, hope, and courage have influenced your life It's important to recognize that while personal freedom is valuable, it isn't always beneficial; sometimes, we must prioritize communal responsibilities over individual desires for the greater good Striking a balance between personal freedom and communal duty can be challenging How have you navigated this balance in your own life?

Gather around the chalice as a volunteer lights it, inviting everyone to reflect silently on the word "freedom." After about fifteen seconds, encourage participants to share a word or two that they associate with "freedom." Once everyone who wishes to contribute has had their turn, conclude the gathering with a closing remark.

Let us cultivate a space today that is expansive enough to embrace our diverse ideas and profound enough to nurture their growth, ultimately yielding fruitful outcomes that can inspire fresh beginnings.

Today, we explore the concept of "freedom," which encompasses various forms One significant type is physical freedom, which can be compromised by imprisonment, confinement, or feelings of insecurity and threat in one's surroundings.

Spiritual freedom is achieved when you can make your own choices in life without feeling weighed down In today's workshop, we will explore various poems that depict individuals facing challenging situations, as well as those that offer insights on how to endure tough times Following our reading, a writing exercise will provide an opportunity for reflection on the poems and your personal strategies for maintaining a healthy spirit during life's hardships.

 Handout 1, "End of a Discussion with a Jailer

(included in this document) ," by Samih Al-

 Photocopy Handout 1, "End of a Discussion with a Jailer," one for each participant.

Distribute Handout 1, titled "End of a Discussion with a Jailer," and invite two or more volunteers to read it aloud, allowing for thirty-second pauses between readings and after the final reading Following this, facilitate a discussion centered on the question, "What do we have here?" to encourage engagement and reflection on the content.

 What is the story of the poem?

 What is the "large cell" to which the speaker refers?

 Is the theme of death present in the poem? Is this death a spiritual death, a physical death, or both? Explain.

 What does this poem say about freedom?

 How does this poem make you feel, and why?

Encourage participants to take three minutes to journal their reflections on the poem, focusing on their thoughts from the group discussion or recalling personal experiences of feeling imprisoned, stifled, or restricted from acting freely according to their conscience.

ACTIVITY 2: DEATH OF A LOVED ONE (10 MINUTES)

 Handout 2, "Animal Liberation," (included in this document) by Genny Lim

 Photocopy Handout 2, "Animal Liberation," one for each participant.

Distribute Handout 2, titled "Animal Liberation," and invite two or more volunteers to read it aloud, allowing a thirty-second pause between each reading and after the final one Following the readings, facilitate a discussion using guiding questions to explore the content and implications of the material.

 Who do you think Danielle might be?

 What effect does the great amount of detail in the poem have on your senses?

 Do any of the poet's tools we discussed in the first workshop stand out in "Animal Liberation"?

 How is the theme of freedom played out in this poem?

 How does this poem make you feel, and why?

Encourage participants to take a few moments to journal about the poem, reflecting on their insights from the group discussion or recalling a personal experience related to the loss of a loved one.

NOTE: Sukhavati is "The Place of Great Bliss," according to a branch of Buddhism It is not the equivalent of "paradise," but the attainment of enlightenment.

 Handout 3, "Poem for the Young White Man

Who Asked Me How I, an Intelligent, Well-Read

Person, Could Believe in the War between the

Races (included in this document) ," by Lorna

 Photocopy Handout 3, "Poem for the Young

White Man Who Asked Me How I, an Intelligent,

Well-Read Person, Could Believe in the War between the Races , one for each participant.

Distribute Handout 3, "Poem for the Young White Man

Who Asked Me How I, an Intelligent, Well-Read Person,

Could Believe in the War between the Races." Ask two or more volunteers to read it aloud, pausing for thirty seconds between readings and after the last reading

Then lead a "What do we have here?" discussion, using these questions:

 What words or references confound or confuse you?

 What do we know about the speaker's life from the poem?

Use these questions to lead a "What's the big idea?" discussion:

 How is the theme of freedom played out in this poem?

 Find the places where the poet contradicts herself What effect do these contradictions have on the tone and mood of the poem?

 Does the speaker believe in a war between the races?

Encourage participants to dedicate approximately three minutes to journaling their reflections on the poem Their entries can encompass insights from the group discussion or personal experiences related to instances of racism they have encountered or witnessed.

 Handout 4, "A Change Is Gonna Come (included in this document) ," by Sam Cooke

 A recording of "A Change Is Gonna Come"

To enjoy Sam Cooke's iconic song "A Change Is Gonna Come," you can obtain a CD, purchase and download it online, or access it for free through various websites if your meeting space has Internet access, such as Last FM.

 Photocopy Handout 4, "A Change Is Gonna Come", one for each participant.

Distribute Handout 4, titled "A Change Is Gonna Come," which features the lyrics of a song by the renowned African American singer Sam Cooke Participants will listen to this impactful song, known for its powerful message Cooke achieved significant success in his career, with eighteen Top Thirty hits, including classics like "You Send Me."

Lead a discussion, using these questions:

 What difficult times does the speaker face?

 Are the themes of freedom or death present in this song? Explain.

 What proof does the speaker have that a change will come?

 What is the tone or mood of the song?

This discussion may delve into the concept of faith, as the speaker expresses a strong belief in an upcoming change without providing evidence If faith is mentioned, encourage participants to explore this theme further, noting that it will be revisited in a future workshop If the term "hopeful" isn't brought up, inquire whether participants perceive the speaker as hopeful and ask how hope relates to the poems and themes discussed in today's workshop.

Invite participants to craft a poem in their journals There are several ways they might approach this writing assignment; they could write:

 A poem about one or more of the difficult times they described in their journals today

 A poem in response to one of the poems they read today

 A poem about one of the problem's currently facing the world and their hope, or lack of hope, for a solution

 A song about any of the above

If you have time, and if they are comfortable doing so, invite participants to share their writing.

 Copies of Singing the Living Tradition, one for each participant

FAITH IN ACTION: READING IS FUNDAMENTAL

 Reading Is Fundamental (RIF) donation forms

ON A LIGHTER NOTE

The gods, too, are fond of a joke.

— Edward Albee, from Who's Afraid of Virginia Woolf

This workshop offers a refreshing opportunity for participants to enjoy themselves, especially before delving into the serious themes of faith, identity, and transformation in the upcoming sessions As the group gears up for the Poetry Slam, it's the perfect moment to embrace a lighter atmosphere and encourage everyone to have fun.

This workshop introduces the valuable activity of journal reviewing, which will be incorporated into the upcoming workshops leading to the Poetry Slam If you think the group would benefit from this practice, make sure to allocate time for it in the next four meetings.

The Faith in Action event will include a guest speaker who will discuss how to effectively support marginalized and oppressed communities It is essential to secure a speaker several weeks in advance, collaborate with them to plan the activity, and confirm their participation shortly before the event.

 Expose participants to UU jokes

 Open discussions about humor and religion

 Identify different ways poetry uses humor

 Judge the humor of UU jokes

 Reflect upon the place humor has in religion

Activity 1: Apple Acting 15 Activity 2: Fruity Whine 10

Activity 4: The Kiss Off 10 Faith in Action: Allied in Humor 30

Alternate Activity 1: The Great Debate 15 Alternate Activity 2: Journal Review

Humor is a highly personal trait, and what one person finds amusing, another may not However, most of us can appreciate humor in some form It can serve as a powerful coping mechanism during tough times, as discussed in Workshop 7 on Difficult Times Reflecting on your experiences, when has humor played a crucial role in helping you navigate challenging situations?

Gather around the chalice as a volunteer lights it, encouraging everyone to silently reflect on the word "funny." After about fifteen seconds, invite participants to share one or two words they associate with "funny." Once all who wish to speak have had their turn, conclude the activity.

Today we are going to read humorous poems, tell UU jokes, and have some fun Some of your earliest memories of poetry might include humorous poems

How many of you have read books by Lewis Carroll, like Alice's Adventures in Wonderland, or books by Eric Carle?

Children and adults alike enjoy silly rhymes and humorous poems that often carry deeper meanings Many of these poems, such as those by Dr Seuss, including "The Lorax," convey important messages or morals, making them both entertaining and thought-provoking.

They show us that poetry can be both funny and serious The question we face in this workshop is, can something be both funny and spiritual?

 Be prepared with several apple allusions in case participants need help See Find Out More or

In this activity, participants play a game with apple allusions.

Invite participants to engage in a pantomime game, where they will act out scenarios without speaking, similar to charades Divide the group into teams of up to four members and encourage them to brainstorm cultural references related to apples, such as sayings, proverbs, or well-known stories Provide newsprint and markers for each team to list their ideas, allowing them several minutes for brainstorming before reconvening to share their results.

Groups will take turns pantomiming their apple allusions while the audience guesses what they are The objective is for the performing group to convey the allusion clearly, enabling the audience to recognize it immediately It's essential to ensure that everyone understands the instructions, and if needed, provide an example by pantomiming someone using an Apple Mac computer.

Select the first group to begin As the audience identifies the apple allusions correctly, record these references on newsprint Continue the performance by alternating between groups until time runs out or all allusions have been revealed.

If there are youth in the group who are differently abled, make sure they are actively involved in the pantomime.

 Handout 1, "Pear's Complaint," (included in this document) by Greg Youmans

 Photocopy Handout 1, "Pear's Complaint," one for each participant.

Invite several volunteers to read "Pear's Complaint" from Handout 1 aloud, allowing thirty seconds of pause between each reading and after the final one After the readings, initiate a discussion by asking, "What do we have here?" to encourage participants to share their insights and interpretations.

 What apple allusions can you find in the poem?

 Does the poem paint only a humorous picture or is it also talking about something else? Does the pear's experience mirror any common human experience, such as jealousy?

 How does this poem make you feel?

 UU jokes, at least as many as the number of participants you expect to attend

To create a collection of UU jokes, write them on slips of paper or print them from online sources and cut them into individual pieces Ensure that the selected jokes do not make derogatory references to other religions For inspiration, you can explore various UU web pages that showcase humor, such as "Laughing at."

Ourselves: UU Jokes (at bowieuu.org/alaughinguuserm.html) (a sermon by Rev Cynthia A Snavely); Coffee Hour (at www.coffeehour.org/archives/001127.html); The

Jokes on UU (at www.uuottawa.com/jokes_uu.htm), from First

 Put the slips in a bowl or other container

Participants share UU humor and reflect upon the place of humor in religion.

Gather participants in a circle Say,

Everyone occasionally needs a break to unwind and escape the pressures of daily life Embracing silliness and laughter is essential for our well-being, as it nourishes the soul It's time to indulge in joy and let laughter rejuvenate us!

Distribute the container filled with UU jokes among the youth, allowing each participant to select one Once everyone has chosen a joke, have them read their selections aloud in turn After all jokes have been shared, or when time is running short, engage the group with follow-up questions to encourage discussion and reflection on the activity.

 Do you know other UU jokes?

 Would you say these jokes play on stereotypes?

Is there any truth to the stereotypes?

 Does humor have a place in worship services or other aspects of religious life? Why? What is spiritual about humor?

Share this joke with the group:

Conversation overheard: Person A (Mainstream Protestant Denomination):

I hear that you allow all sorts of weirdos in your church Atheists, Buddhists, Pagans

Person B (Unitarian Universalist): We allow Christians too—we're very open- minded!

 How is this joke different from the ones you shared earlier?

 Why do you think some UUs object to jokes like this?

 Is this just about differences in what people find funny or is there a deeper issue here?

 Does this joke put down Christians?

 When UUs tell a joke about UUs, is that different from hearing a non-UU tell a joke about UUs?

 In the previous question, replace the words

"UUs" and "non-UU" with "homosexuals" and

"heterosexual"; is the answer to the question the same?

 Can our UU Principles relate to the use of humor?

ACTIVITY 4: THE KISS OFF (10 MINUTES)

 Handout 2, "Bladder Song," (included in this document) by Leonard Nathan

 Photocopy Handout 2, "Bladder Song," one for each participant.

Ask one or two volunteers to read Handout 2, "Bladder Song," aloud Allow about thirty seconds between readings and before delving into the questions below.

Lead a "What do we have here?" discussion to draw out what happens in the poem:

 What is the story of this poem?

 Why do you think the poet used the word "piss" instead of another term for urine?

 Does the poem paint a humorous picture or does it also express something serious?

 Is the poem about celebrating the ordinary, transcending it, or both?

 What do you make of the last line? Why "if it's human"?

 Is this a love poem? If so, who/what loves who/ what?

 Do you prefer serious poetry, funny poetry, or both? All the time or sometimes?

NOTE: A Few Words about the Poem

The odd, optimistic, and humorous short poem "Bladder

The song serves as a tribute to our shared human connections, emphasizing the belief that nothing is wasted in our experiences Its concluding line, "Ah, nothing's wasted, if it's human," highlights a deep trust in the messages and signs that the universe presents to us.

 Copies of Singing the Living Tradition, one for each participant

FAITH IN ACTION: ALLIED IN HUMOR

 Information about how to be a good ally See

Description of Activity for suggestions.

 Inviting a guest speaker to facilitate this Faith in

FAITH FOR THE JOURNEY

Faith is the bird that feels the light when the dawn is still dark.

"Faith," a word we use in religious language, can have many different meanings Within this workshop, participants explore faith in terms of the definitions

Faith can be understood as a deep-seated trust in people or things, as well as the ability to derive meaning from life's experiences It's essential to acknowledge and embrace the diverse definitions of faith that participants may have, fostering an inclusive environment Encouraging individuals to reflect on their unique interpretations allows for a richer exploration of how faith manifests in their daily lives.

You do not need to reach consensus on a definition.

 Introduce the concept of a spiritual journey

 Explore the role of faith in a spiritual journey

 Use poetry to explore what it means to have faith in something larger than ourselves, and to have faith in our own innate wisdom

 Decipher what two poets have to say about faith and prayer

 Optional: Inspire participants to write poems about faith

 Optional: Provide time for participants to review their poetry in preparation for the Poetry Slam

 Decipher elements of a spiritual journey

 Think about their own spiritual journey

 Understand our relationship to our faith within the context of Unitarian Universalism

 Discover connections between spiritual journeys and faith

 Optional: Explore an opportunity to utilize individual and collective energy toward fundraising for a good cause

 Optional: Review their writing from previous workshops

Activity 1: Ruby Slippers 25 Activity 2: Mystery and Faith 25 Faith in Action: Fun and Fundraising 30

Alternate Activity 1: Faith Poetry 20 Alternate Activity 2: Find Faith 25 Alternate Activity 3: Journal Review

In today's workshop, we will explore life journeys through the lens of the classic movie The Wizard of Oz Participants will reflect on their personal "tornadoes" and identify figures in their lives akin to the Tinman, Scarecrow, and Lion, as well as their own Glinda This discussion will encourage individuals to consider the powers or talents they may have lost or overlooked before learning to truly appreciate and harness them.

Gather around the chalice and, as a volunteer lights it, encourage the group to reflect silently on the word "faith." After about fifteen seconds, invite participants to share words or phrases that resonate with "faith." Once everyone has had the opportunity to contribute, conclude by expressing, "May the space we create here today be wide enough to hold all our individual ideas and deep enough to allow those ideas to grow, to fruit, and to provide seeds for new beginnings."

Introduce today's workshop by saying, "At the end of

The Wizard of Oz, a perplexed and somewhat irked

Dorothy discovers that throughout her challenging journey filled with flying monkeys, the Wicked Witch, and enchanted poppies, she always had the ability to return home by simply clicking her ruby slippers together When she questions why this vital information was not shared with her earlier, she learns an important truth: even if someone had informed her of her power, she needed to realize it for herself.

Like Dorothy, we must navigate every step of our journey, embracing both our crises of faith and moments of wonder, to emerge stronger on the other side.

"Faith of some kind seems to be an essential ingredient in the spiritual wholeness for which humans yearn

You, personally, may have faith in an entity greater than humankind, in the connectedness of all beings, or in a worldview that is uniquely your own

The Unitarian Universalist tradition values both doubt and the wisdom each individual brings to their faith journey Similar to poetry, Unitarian Universalism encourages the pursuit of spiritual wholeness and often raises more questions than it answers Poetry plays a significant role in Unitarian Universalist worship, with notable American poets linked to the tradition Through its ability to celebrate faith, express challenges in maintaining it, and provoke deeper inquiry, poetry invites us to reflect on how our faith shapes our spirituality and vice versa.

Participants explore notions of a spiritual quest and faith by finding parallels in The Wizard of Oz

Begin the activity by reflecting on Dorothy's journey in The Wizard of Oz, and if time permits, engage the group by inviting volunteers to perform a quick reenactment of the story Before diving in, prompt the participants to consider whether they view Dorothy's experience as akin to a spiritual quest, allowing a few minutes for discussion on this concept if necessary.

Start the reenactment Anyone in the group can yell

When the narrative touches on elements that resonate with a traditional spiritual quest, pause the discussion If you're short on time, consider summarizing this segment verbally to effectively convey its significance.

Dorothy's journey can be seen as a spiritual quest, as she often feels lost and confused while navigating her challenges Despite her uncertainties, she remains persistent and determined, seeking the magic that will guide her home Along the way, she encounters moments of disappointment but ultimately strives for enlightenment, illustrating her growth and transformation throughout the adventure.

 Experiencing doubt, fear, and excitement during the search

 Experiencing trials and challenges along the way

 Needing others, such as guides and companions, along the way

 Meeting fellow travelers, even though they are not all looking for the same thing

 Having the answer/solution/wisdom inside oneself (e.g., Dorothy clicking the ruby slippers)

 Having to experience the journey and find out the truth for oneself

 Inability to explain to others, such as Auntie Em and the farm hands, exactly what has happened and how one has been transformed

If you see that the group has missed important parallels, state them aloud and write them down

Lead a discussion to help the group form a notion of what a spiritual quest is Use these questions:

 If you are on a spiritual quest, what are you seeking?

 Does everyone eventually go on a spiritual quest? What motivates people to look for spiritual answers?

 What does Unitarian Universalism have to say about spiritual quests?

 Do you believe that, like Dorothy, you have the

Spiritual quests in real life often do not follow a clear structure like those depicted in The Wizard of Oz, which presents a distinct beginning, middle, and end Instead, these journeys frequently intertwine with various other narratives and experiences in our lives, creating a complex tapestry of personal growth and exploration.

Can you think of experiences in your life that you would consider part of your long-term spiritual quest?

Ask the group whether faith helped Dorothy and, if so, how? In what did Dorothy have faith?

Engage in a discussion to explore the essence of faith and its significance in a spiritual journey To initiate the conversation, present the following metaphors and encourage the group to evaluate their effectiveness Invite participants to modify these metaphors to create a comprehensive understanding of faith and its role in spiritual exploration.

 A spiritual quest is a trip to an endless, perfect vacation spot; faith is the bus that takes you there.

 A spiritual quest is a climb up a mountain whose peak is obscured by clouds; faith is the food in your backpack.

 A spiritual quest is a night in a dark room; faith is your flashlight.

 Handout 1, "The Ancient Sage (included in this document) ," by Alfred Lord Tennyson; and

Handout 2, "Finders Keepers (included in this document) ," by Patrice Vecchione

 Make enough copies of Handouts 1 and 2 so that each participant may have a set

Participants use two poems as the basis for a discussion about faith and prayer.

Distribute "The Ancient Sage" and "Finders Keepers" handouts to participants Invite two volunteers to read the first poem aloud twice, allowing thirty seconds of silence between readings Repeat this process for the second poem to enhance understanding and engagement.

Lead a "What do we have here?" discussion about each poem Use these questions:

 Who is "she" referred to in "The Ancient Sage"?

 Would you say the speaker is a person of deep faith? In what does he/she have faith?

 What words would you use to describe the speaker's father? How do you think she/he feels about him?

 Are the speakers in both poems talking about religious faith or faith in something else? Is this distinction clear? Does it matter?

Lead a "What's the big idea?" discussion about the poems Use these questions:

 In "The Ancient Sage," what argument does the speaker present to the son as a reason for having faith?

 Do you think this is a good reason? Have you ever heard an argument for religious faith based upon similar premises?

 In "Finders Keepers" the author talks about looking for faith Is there a difference between

"having" faith and "looking" for faith? How do these concepts relate to the common phrase

Both poems explore the themes of mystery and the quest for answers to life's profound questions, highlighting the role of faith during challenging times However, the speakers differ in their perspectives on enduring life's hardships, with one exhibiting a more hopeful outlook while the other may express a sense of struggle or doubt This contrast enriches the poems' exploration of resilience and belief amidst adversity.

 What do the words "our Unitarian Universalist faith" mean to you?

 How do we, as UUs, deal with the "mystery"? Is there one right answer to this question? Why or why not?

 Does either poem take the reader on a journey? From where to where? Is there a spiritual journey, and if so, what happens along the way?

FAITH IN ACTION: FUN AND

 Optional: Visit Donors Choose (at www.donorschoose.org/) and research possible projects to present to the group.

Participants decide if they wish to use the Poetry Slam as a fundraiser for a good cause Here is a list of potential questions you might ask:

 To what cause could we donate? Is there a connection between the cause and our poetry?

The theme of an event can play a significant role in its purpose; for instance, to support Heifer International, participants might contribute poems that reflect themes related to farming life, global rural poverty, or domesticated animals Additionally, they could explore donating to initiatives that promote literacy or foster creativity.

 Should we sell tickets, food, or something else?

Should we ask for donations at the door?

 How can we publicize the event?

 Who will take responsibility for the funds we raise?

 Do we need to seek approval from the Board of

Trustees or another committee in the congregation to fundraise? How will that be done?

DonorsChoose.org is a valuable resource for finding sponsors for various projects, allowing your group to select initiatives based on themes like poetry or specific locations that can positively impact your community Additionally, consider reaching out to your congregation's social justice committee for further project ideas and support.

YOU AND ME

Identity serves as a protective layer that conceals our true selves, much like a loose-fitting garment This allows for a sense of vulnerability to be felt and occasionally revealed, reminiscent of the flowing robes worn in the desert.

This workshop consists of two main activities, each featuring multiple steps that may exceed the recommended duration if discussions are engaging If time permits, consider splitting the lesson into two separate workshops For instance, Activity 2, "Alike on the Inside?" can be paired with Alternate Activity 3 for a more comprehensive experience.

Reconciliation, for one workshop period; and Activity 1,

To enhance the workshop "Different on the Outside," consider extending it by incorporating more discussion questions or initiating Alternate Activity 1, Face Forward This can involve taking photographs during the session, allowing participants or co-leaders to contribute to the gallery setup afterward.

If you are unable to divide this lesson into two workshops, keep your eye on the clock and be prepared to end discussion when time runs out.

The self-portrait poems or drawings that participants create in this workshop can be included in the "time capsule" they will make in Workshop 11,

Transformation Either collect the self-portraits or ask participants to keep them in their journals with other workshop writing.

 Utilize self-portrait poetry and drawing to reflect on and reframe participants' personal histories

 Investigate the distinctions between how we see ourselves and how others see us

 Utilize poetry to explore what it means to celebrate, rather than tolerate, diversity

 Help youth articulate and share perspectives on what sets human beings apart from one another and what connects us

 Affirm youth as valuable, loving, and lovable individuals

 Optional: Supply suggestions for ways to educate others on the UN World Millennium Goals

 Optional: Engage youth in creating a game for the congregation

 Optional: Encourage youth to write a reconciliatory poem or letter that recognizes similarities they share with the recipient

 Optional: Provide time for participants to review their poetry in preparation for the Poetry Slam

 Appraise themselves in order to create a self- portrait

 Reflect upon whether their outer selves represent their inner selves

 Discover the diversity that exists within the group

 Appreciate both the differences and similarities among the group

 Optional: Act on their responsibilities as world citizens by spreading the word about the UN World Millennium Goals

 Optional: Offer others a peek at their inner beings during a matching game

 Optional: Strive to reconcile themselves to a difficult relationship

Activity 1: Different on the Outside 25 Activity 2: Alike on the Inside? 25 Faith in Action: Millennium Development

This workshop offers a variety of topics for exploration, emphasizing the contrast between our self-perception and how others perceive us, which raises questions about the safety of expressing our true selves As adult facilitators, we face the challenge of balancing our authentic selves with the need to prioritize the youth in our group It’s essential to share parts of our true selves to build genuine connections, but reflection on our current balance is crucial Are you satisfied with your approach, or do you feel adjustments are needed? Engaging in a discussion with your co-leader may provide valuable insights.

Gather participants around the chalice and have a volunteer light it Encourage the group to silently reflect on the word "me" for about fifteen seconds After this moment of contemplation, invite everyone to share a word or two that resonates with them in relation to "me." Once all who wish to speak have had their turn, conclude the activity.

Let us cultivate a space today that is expansive enough to embrace our diverse ideas and profound enough to nurture their growth, enabling them to blossom and generate seeds for fresh opportunities.

Introduce today's workshop by saying,

Adolescence often brings about a harsh and unfair self-examination, leading many to focus on their flaws rather than their beauty We tend to scrutinize ourselves multiple times a day, yet genuine acceptance of our true selves is rare In Robert Graves' poem, "The Face in the Mirror," an older man reflects on his life while shaving, approaching this moment with honesty, ultimately finding love and self-respect in his self-assessment.

May we all strive to see our true spirits in our own reflections.

 Mirrors, one for each participant

 Handout 1, "The Face in the Mirror (included in this document) ," by Robert Graves

 Photocopy Handout 1, "The Face in the Mirror," one for each participant.

In preparation for the workshop, compile a list of unusual words from Robert Graves' poem along with their definitions on newsprint or a dry erase board Key terms to include are: "inhering," which refers to being a natural part of something; "furrowed," meaning rutted or grooved in surface; "frenetic," characterized by feverish activity and confusion; "jowl," denoting the lower jaw or a prominent cheek; "pugilistic," related to boxing; "ruddy," describing a healthy reddish color; "ascetic," which signifies self-denial and austerity; and "derision," indicating contempt and mockery.

An older poet's thoughtful tour of his own face informs a self-portraiture exercise

As a volunteer distributes journals and writing instruments, prepare a sheet of newsprint with two columns titled "Your Personal History" and "Your Personality." Instruct participants to replicate these two columns on their own sheets of paper.

Encourage the group to write their responses to the provided questions on paper, and if they feel comfortable, invite them to share their answers verbally Ensure there is adequate time between each prompt for participants to thoughtfully respond.

 What could someone tell about your personal history just from gazing at your face? How could they tell? (Write responses in the personal history column.)

 What could someone tell about your personality? How could they tell from your face?(Write responses in the personality column.)

 When you look in the mirror, how do you think you see yourself differently than someone else might see you? Be as specific as possible.

 Why might we see ourselves differently than others do?

 When do you worry least about how you look?

Why do you think that is?

Inform participants that the upcoming poem contains unfamiliar words and encourage them to review the provided definitions Take the time to read and explain each word aloud as needed for clarity.

Distribute copies of Handout 1, "The Face in the Mirror."

Ask for two volunteers to read the poem aloud Allow at least thirty seconds of silence after each reading.

Lead a "What do we have here?" discussion about the poem, using these questions:

 What happens in the poem?

 What can we infer, or guess, about the speaker's life? Where has he been; what has he done?

 What do we know, literally, about how the speaker looks? Be specific.

 What is unclear in the poem?

Lead a "What's the Big Idea?" discussion, using these questions:

 How does the speaker feel about himself? How do we know?

In the final stanza, the speaker reflects on his journey and questions why, despite his struggles, he still perceives a boy brimming with confidence and hope when he looks in the mirror This raises the question of whether the speaker has a realistic view of himself.

Do you think our true spirit is reflected in our outer selves? If yes or no, what are the consequences of how we interact with each other?

Each participant will have the opportunity to reflect on themselves, similar to Robert Graves' approach in his poem They will create a self-portrait poem based on their observations To facilitate this, provide mirrors, pencils, and drawing paper to the group for their creative expression.

Encourage participants to gaze into a mirror and reflect on the stories their faces tell about their personal histories Prompt them to delve even deeper, exploring the insights their reflections reveal about their inner selves How do they feel about the person they see staring back at them?

Take a moment to truly observe your face, as if seeing it for the first time Reflect on the journey it has taken, noting any scars that reveal a story or subtle expressions that convey deeper meanings Consider your inner reactions to this self-examination The real challenge lies in seeing yourself through the eyes of someone who loves you unconditionally—can you embrace your reflection with complete acceptance, objectivity, and love, free from judgment?

Invite participants to choose one of these approaches to a self-portrait:

 Write a three-stanza poem, modeled after the Graves poem

 Use a completely different form for your poem

 Instead of writing a poem, draw a self-portrait

(Participants who choose to draw may use words or a poem within their drawing; it need not be a conventional, representative self-portrait.)

TRANSFORMATION

Well, that's the trick: the sudden unexpectedness inside the overknown.

This is the last workshop before planning the Poetry

Slam Both the planning and the presentation of the

Poetry Slam offers a platform for participants to express their unique voices while fostering a sense of community through collective expression This workshop emphasizes the importance of balancing individual creativity with the power of group collaboration.

 Utilize poetry to examine the relationship between the individual self and self in community

 Provide participants with a metaphorical method of looking at their life experiences

 Optional: Guide participants through creating a time capsule for future reflection

 Optional: Present a game that uses words to illustrate how a poet turns randomness into meaning

 Optional: Encourage participants to review their poetry in preparation for the Poetry Slam

 Acknowledge how the self is transformed in community

 Analyze how the various elements of their lives have combined to make them the person they are today

 Optional: Create a vehicle to inspire self- reflection in future years

 Optional: Experience poetry as a tool for light wordplay

 Optional: Develop a theory on the composition of poetry and relate it to their work

Faith in Action: Time Capsule

Alternate Activity 1: Poetry Improv 15 Alternate Activity 2: Recipes and Equations 15 Alternate Activity 3: Journal Review

In Workshop 10, titled "You and Me," we encouraged you to reflect on the extent to which you have shared your authentic self throughout the program Now, consider this: if you have genuinely integrated elements of your true self into the experience, how has this contributed to your personal transformation?

Gather around the chalice As a volunteer lights the chalice, ask the group to focus on the word

“transformation” in silence After about fifteen seconds, invite participants to speak freely into the space a word or two that they associate with the word

“transformation.” When everyone who wishes to speak has had a chance to do so, close by saying,

Introduce today’s workshop by saying,

Life is a journey of transformation, especially during youth as we transition from childhood to adulthood Our Unitarian Universalist faith embodies this continual evolution as we interpret our experiences and their significance This transformation is deeply rooted in community, where we reflect on ourselves and others, allowing us to embody our UU values The interplay between individual experiences and community life shapes our identities, fostering mutual growth and transformation.

 Handout 1, “Pull the Next One Up (included in this document) ,” by Marc Kelly Smith

 Photocopy Handout 1, “Pull the Next One Up,” one for each participant.

Distribute Handout 1, “Pull the Next One Up.” Ask two or more volunteers to read it aloud, pausing for thirty seconds between readings and after the last reading

Then lead a “What do we have here?” discussion, using these questions:

 What words or references confound or confuse you?

 What metaphor is the basis for this poem?

Use these questions to lead a “What’s the big idea?” discussion:

 What difficulties do the people in the poem face, literally and figuratively?

 This poem is obviously about courage What other themes can you find in this poem?

(Possible answers include cooperation, social action, our shared human condition, setting and reaching goals, and community action.)

Mountain climbing often symbolizes individual achievement, highlighting the glory of a climber reaching the summit However, this poet emphasizes that true success lies not in solitary triumphs but in uplifting others during the journey This perspective invites us to consider whether the poet is addressing more than just physical climbing, urging us to reflect on the importance of community and shared experiences in our pursuits.

The poem emphasizes the importance of individual progress in relation to community advancement, highlighting that each climber must achieve their own milestones before they can assist others in their journey This underscores the idea that personal growth is a prerequisite for collective upliftment, illustrating the interconnectedness of individual and communal success.

Focusing on the rope and the "dangling bodies" that require assistance to reach the summit, rather than simply planting flags to signify conquest, presents a transformative perspective on what constitutes success in mountain climbing This approach emphasizes collaboration and support over individual achievement, redefining the essence of triumph in the sport.

 Is there anything in the poem that speaks to transformation?

Engaging in ropes courses or group retreats where participants support one another in overcoming physical challenges serves as a powerful metaphor for community and social action This experience highlights the importance of collaboration and mutual assistance in transforming communities By sharing examples, individuals can illustrate how such collective efforts foster resilience and unity Furthermore, this metaphor can extend to various aspects of life, prompting discussions on alternative models for community transformation, emphasizing the significance of teamwork and shared goals in driving positive change.

In the upcoming workshop, participants will begin planning the Poetry Slam, exploring how the metaphor in the poem relates to this project This experience will significantly transform the group, fostering creativity and collaboration as they engage with the art of poetry.

Ask for a definition of the word "synergy." The American

According to the Heritage Dictionary, synergy is defined as the interaction of multiple agents or forces that results in a combined effect greater than the sum of their individual impacts An illustrative example of this concept is the Poetry Slam, where participants experience the transformative power of collaboration The upcoming activity will further exemplify synergy, showcasing the dynamic interaction between individuals and their community.

 Large index cards, one for each participant

 If you choose to use the Dewey Delight recipe provided below as an example, consider writing it on newsprint before starting the workshop.

Each participant creates a “recipe” for him-/herself which reflects his/her formative experiences and life journey.

Distribute index cards and writing instruments to all participants Inform them that previous workshops have explored themes such as personal guidance, sources of inspiration, self-perception, and the essence of their true selves.

We are going to do an activity that makes us think a little differently about our lives We will make our own Life

Our recipe cards go beyond traditional food ingredients; they capture the essence of who we are by highlighting our emotions, life experiences, relationships, and the rich aspects of community life.

Have the group list the components of a recipe, and write down their responses on newsprint or a dry erase board You should end up with something like:

 the amount of each ingredient so the proportions are right

Guide the group in crafting a "life recipe" for a familiar character, such as Dewey from *School of Rock*, Spiderman, or Santa Claus Encourage suggestions from participants, and refer to the sample recipe for structure Document the recipe on newsprint or a dry erase board to facilitate collaboration and creativity.

 Encourage the group to name the recipe, e.g.,

 Lead a discussion about what makes up this character Ask participants to express the character’s “ingredients” in the form of experiences, life lessons, and relationships.

Engage participants in a discussion about the ideal quantities of each ingredient in the recipe, encouraging them to share their perspectives This collaborative approach may spark lively debates as they evaluate the significance of various experiences and relationships.

After compiling a list of ingredients, engage participants in the creative process by asking how to "cook" the character Use culinary terms like preheat, melt, puree, add, fold in, sift, marinate, and sprinkle to stimulate discussion Expect lively debates as participants explore the order of events, the grouping of ingredients, and the ideal baking time for the character.

Sample Life Recipe: Dewey Delight

Dewey’s ingredients and instructions might look something like this:

3 cups love of rock music from years of listening

A dash of humility from falling in front of the crowd during a stage dive

1/4 cup living with a “sell-out”

1/4 cup poverty 1/2 cup vague feeling of determination

3 cups realizing that he admires and loves his students

3 tbsp realization that students are better musicians than he

1 tsp insecurity from lack of teaching experience

1 cup wanting to show up his old band at Battle of the Bands

4 cups feeling absolute glee from playing show

POEMS ON STAGE: EXPLORING POETRY OUT LOUD

One ought, every day at least, to hear a little song, read a good poem, see a fine picture, and if it were possible, to speak a few reasonable words

This article introduces the first of three workshops aimed at organizing the Poetry Slam, following earlier sessions that offered reminders and fundraising suggestions Workshops 12 and 13 detail the planning process, while Workshop 14 is dedicated to the performance itself If your group wishes to conduct planning workshops more than two weeks prior to the performance, consider adjusting your schedule to hold Workshops 12 and 13 earlier in the semester Additionally, you can insert one or two workshops between these sessions and Workshop 14, or even rearrange the existing workshops or create your own, as outlined in Workshop 13, Alternate.

When organizing a Rainy Day Plan, it's essential to allow the group to bond before diving into the Poetry Slam preparations Starting the planning process too early can dampen enthusiasm, so it's crucial to strike a balance between fostering connections and maintaining excitement for the performance.

Be prepared to spend additional time outside of the workshop, if needed, to ensure the success of the

Poetry Slam If needed seek additional help from youths' families, your religious educator, minister, or writers within the congregation.

 Honor our spirits, creativity, and craftsmanship by making poems and sharing them with others

 Explore differences between reading and hearing a poem

 Provide steps for participants to thoughtfully plan and implement a public performance of poetry

 Allow participants to experience a new way of working together through crafting a choral reading

 Analyze the differences between reading poetry and hearing it

 Craft poetry while paying particular attention to how the experience of the listener influences the writing process

 Work cooperatively to plan a group performance

 Identify specific talents they and others possess that will contribute to the success of a group performance

 Engage the congregation through an invitation to participate in the group performance

Activity 1: Poetry Out Loud 15 Activity 2: Speaking Our Own Words 20 Activity 3: You and the Poetry Slam, Part I 15 Faith in Action: Planning a Choral Reading 20

Alternate Activity 1: Poetry Out Loud 15 Alternate Activity 2: The Spoken Word 20

This workshop initiates the preparations for a Poetry Slam, presenting a unique challenge as youth perform before an audience of non-peers Reflect on your own childhood performances—did you choose to participate or were you encouraged? Consider the feelings of anxiety during preparation and the support you received Think about whether the experience was ultimately positive; if not, what could have improved it? Your efforts to ensure that participants view the Poetry Slam positively are crucial, and the significant impact you have on their experiences should never be underestimated Cherish this understanding as you guide them.

Gather around the chalice As a volunteer lights the chalice, ask the group to focus on the word

"cooperation." Invite participants to speak freely into the space a word or two that they associate with the word

"cooperation." When enough time has passed for everyone who wishes to speak to do so, close by saying,

Introduce today's workshop with these words,

Writing poetry is a fulfilling experience, but it becomes even more meaningful when shared with an audience A Poetry Slam or public reading serves as a platform for this expression Our event will focus on collaboration rather than competition, encouraging participants to showcase their unique talents in a supportive environment.

Releasing a poem transforms it from a personal treasure into a powerful medium that can impact others This prompts essential questions: Who is the intended audience for your poem? Do you envision it being read or heard? What emotions do you wish to evoke in your readers or listeners?

Think? Do? How can you fine-tune your poem to "speak" for you most clearly?

In today's session, we will focus on the emotional impact of reading poetry aloud on listeners At our next meeting, we will choose our own written poems alongside works from our favorite poets to present at a public poetry event Following this, we will organize and host the poetry-reading event.

ACTIVITY 1: POETRY OUT LOUD (15 MINUTES)

 Recording or live computer link of poetry read aloud

 Print-outs of the poems to be heard

 DVD or CD player or computer with Internet connection

 Poetry anthologies suitable for youth (see Find Out More for suggestions)

 Paper and pencils or computer and printer for writing during the workshop

To find suitable poetry recordings for youth, start at the youth section of your local library, where librarians can offer valuable suggestions Explore the Library of Congress Poetry website for a variety of recorded poetry Consider the books "The Spoken Word Revolution" and "The Spoken Word Redux," edited by Mark Eleveld, which include both text and CD recordings of poems It's important to locate the recordings before seeking the printed versions, as not all printed poems are available in audio format Additionally, engage with writers in your congregation who may be eager to assist in selecting material for your workshop, and be sure to preview both the recordings and written works they provide.

 Set up the computer or CD or DVD player where all participants can see and hear.

 Cue up the first poem.

Participants listen to or watch a recording of poetry read aloud, silently read the printed text of the same poems to themselves, and then compare the experiences

In this poetry session, participants will engage with works recorded in an intimate setting, showcasing the talent of a renowned poet The audience, comprised of diverse individuals, plays a crucial role in the experience Attendees are encouraged to reflect on their personal reactions to the poetry reading, noting the emotions it evokes, which will be shared at the conclusion of the exercise.

Listen to the recording and distribute the printed text to the participants Once they have finished reading, play the recording again for reinforcement Repeat this process with two to four different poems to enhance comprehension and engagement.

Using these questions as prompts, lead a discussion about how voiced poetry differs from poetry on the printed page:

 How does hearing a poem in the presence of other people differ from reading it silently to yourself? Which did you prefer and why?

 Do certain kinds of poems lend themselves to reading aloud? What features does a poem need to be a good candidate for reading aloud?

 Do certain words jump out at you when you listen to a poem? By contrast, what makes you notice certain words when you read a poem?

Effective delivery of a poem hinges on various factors, including the emotional tone and style of the poem itself While a highly dramatic reading can enhance the impact of certain poems, a simple and sincere rendition may resonate more deeply with others Ultimately, the effectiveness of the delivery often depends on the specific qualities and themes of the poem being presented.

Encourage participants to keep their observations about spoken poetry in mind as they prepare a Poetry Slam for an audience.

At the start of the activity, inquire if the sound level is adequate, as individuals with hearing impairments may hesitate to voice their need for increased volume This proactive approach encourages open communication and ensures everyone can participate comfortably.

 Pencils or pens and journals

 Decide how much time you can give participants for writing and be sure to have a clock on hand

Reserve several minutes at the end of this activity so that everyone has a chance to read his/her work aloud to another participant.

Participants craft their own poetry with special attention to how the poem will sound when performed aloud

During the workshop, participants will have dedicated time to create their own poetry, allowing for a focused writing experience They will be given ample time to craft their pieces, and it's important to remember that they can also continue developing their poems at home.

In this poetry exercise, participants will create poems not just for personal enjoyment, but with the intention of reading them aloud to the group It’s important for them to consider the performance aspect and how their poems will sound when spoken For those who may feel anxious about sharing their work publicly, it's essential to reassure them that only those who want to read aloud will do so, while others can engage in the Poetry Slam through different methods that will be explained later.

Distribute journals and pencils or assign computer workspaces to participants to encourage poetry creation Offer a free-writing exercise for those needing assistance, starting with the prompt, "I want you to know " After three to four minutes, introduce a second prompt: "It hurts when " and conclude with, "I feel better when " to guide their writing process.

PLANNING A POETRY SLAM

A goal without a plan is just a wish.

In today's workshop, you will continue to plan for the

Poetry Slam If after the workshop you feel the need for additional planning time, establish a time to reconvene

If you are doing a fund-raiser during the Poetry Slam, do not forget to include the organizers in all your plans.

 Honor our spirits, creativity, and craftsmanship by making poems and sharing them with others

 Plan a public performance of poetry

 Solidify the roles each individual will play in the

 Optional: Rally individual and collective energy toward fund-raising for congregational youth activities or another purpose of the group's choice.

 Volunteer their talents for the purpose of group creation

 Recognize that many different talents are needed to create a successful performance

 Experiment with synergy by taking words from several individual manuscripts and creating a new manuscript that is different

 Affirm the work of other writers within the congregation by incorporating their work into a choral reading

Activity 1: You and the Poetry Slam, Part II 15 Activity 2: Small Group Planning 25

Faith in Action: Practicing the Choral Reading 40

Alternate Activity 1: Rainy Day Plan 50

In today's workshop, we will engage in small group planning, a skill that improves with maturity and experience While Unitarian Universalists often humorously acknowledge the prevalence of committees in our faith, it's essential to consider the positive aspects of collaborative work When individuals unite to create as a group, they can harness diverse perspectives and ideas, leading to innovative solutions and a stronger sense of community.

Gaining respect for your ideas and contributions within a group can be incredibly validating Reflect on a moment when you experienced this recognition from your peers What type of environment fostered such affirmation?

Fostering an atmosphere of respect and affirmation within a group can be challenging, yet it is essential for a successful collaborative effort To enhance mutual respect, encourage open communication and active listening, allowing each member to share their ideas and contributions freely Acknowledge and celebrate the diverse strengths and perspectives that each individual brings to the table, reinforcing the value of teamwork Additionally, set clear expectations for respectful interactions and provide constructive feedback to promote a positive environment as the group prepares for their final event.

Gather around the chalice As a volunteer lights the chalice, ask the group to focus on the word "perform."

Invite participants to speak freely into the space a word or two that they associate with the word "perform."

When enough time has passed for everyone who wishes to speak to do so, close by saying,

Let us cultivate a space today that is expansive enough to embrace our diverse ideas and profound enough to nurture their growth, allowing them to flourish and generate seeds for new beginnings.

Introduce today's workshop with these words,

In this program, we have explored the various dimensions of poetry through reading, listening, writing, and sharing Congratulations on embracing the openness and creativity required for your personal journey in poetry Today, we will focus on organizing a public poetry event to share our experiences with a wider audience.

The deeper our connection to a poem, the more we seek positive responses from others When a poem resonates with our emotions, we yearn for appreciation and encouragement Today, let's craft our Poetry Slam to inspire listeners to embrace our work with the open hearts that we, as poets, truly desire and deserve.

We can simply read our poems aloud

Our Poetry Slam will blend the vibrant traditions of open mic and competitive poetry, creating a unique, non-competitive performance art experience This event can be free to attend or serve as a fundraiser, potentially featuring activities like a bake sale Participants will have the opportunity to share their original works in a welcoming environment, while we carefully select the poems to be presented and design a space that enhances audience engagement.

ACTIVITY 1: YOU AND THE POETRY SLAM, PART II (15 MINUTES)

 Books and handouts of poetry that participants either have used in previous program workshops or may peruse today for inclusion in the Poetry Slam

 Paper and pencils or computer and printer for writing during the workshop

 Be ready to remind participants of the date, time, and place for the Poetry Slam.

 Post the documentation from Workshop 12, Activity 3: You and the Poetry Slam, in which participants began to generate ideas.

When organizing an event, it's essential to outline specific roles on newsprint, allowing space for volunteer names Key responsibilities may include managing the event program, handling publicity, setting up the room, and overseeing audio-visual equipment Additional tasks can involve planning fundraisers, managing ticket sales and ushering, coordinating readers or performers, serving as the emcee, facilitating room cleanup, and sending thank-you notes Optionally, a wrap-up for fundraising efforts can also be included.

Participants build upon the plans for the Poetry Slam that they started in the previous workshop.

In today's workshop, we will solidify the plans initiated in our last session and collaborate in small groups to finalize the planning process By the end of the day, participants will receive specific assignments to complete before the event, which may include practicing their poetry performances, ensuring the functionality of audio/visual equipment, or designing and photocopying the event program.

Please remember the date, time, and location of the upcoming event and confirm your attendance If you are unable to attend, we encourage you to contribute to today's planning and consider sharing a poem for another participant to read aloud.

Begin to shape the event with a maximum of five minutes' brainstorming To get things started, refer to the newsprint on which participants' suggestions from

Workshop 12 are listed To stimulate more discussion, ask the group these new questions:

 Should we invite young children?

 Should everyone sit in a circle or should readers be on a stage?

 Do we want to include music?

 Do we want to videotape the event?

 Do we want to ask the audience for feedback? If so, should we ask for it at the end of the event?

In a guest book we provide at the event?

 Do we need an intermission?

Using microphones is essential for enhancing performance quality and ensuring all participants are heard clearly Inform the group that they will have an opportunity to practice with the microphones on the performance day Additionally, confirm whether cordless microphones are available for use.

This will affect your decision concerning how to seat performers.

Lead a discussion to assign roles and responsibilities

Assign a volunteer to document the roles and responsibilities on an easel or chalkboard, utilizing the previously prepared list If there are any unfilled roles from Workshop 12, be sure to ask the relevant questions to clarify and address these gaps effectively.

 Who would like to read or perform a poem? Will you use your own poem or one by someone else?

 Who would like to provide a poem for someone else to read or perform?

 Who would like to be an emcee?

 Can anyone come early to help set up the space? Can anyone stay after the event to help clean up the space?

Draft the order in which people will read/perform

If possible, use a microphone for the performance

It's essential to recognize that individuals with hearing impairments may find it challenging to request amplification By proactively offering a microphone, you help create a more inclusive environment and eliminate discomfort for those who might hesitate to speak up This gesture demonstrates allyship towards differently-abled individuals Additionally, check if your congregation provides assisted listening devices, as these tools are effective only when used in conjunction with a sound system.

ACTIVITY 2: SMALL GROUP PLANNING (25 MINUTES)

 Paper and pencils or computers and printer

 Poetry anthologies suitable for youth

Ensure that the meeting room is spacious enough for small groups to work independently If the current space is insufficient, find and reserve alternative rooms in advance for youth to utilize.

Small groups and individuals pursue assigned tasks, determine what additional tasks to do between this workshop and the Poetry Slam, and decide who will do them

Participants will collaborate in small groups or work independently based on their Poetry Slam roles to develop a comprehensive plan Groups requiring materials will be provided with newsprint and markers At the conclusion of the workshop, all participants will gather to refine the overall plan and allocate any remaining tasks.

Use this template to create the small groups:

Poetry writers, readers, and performers

Fine-tune your own poems.

Choose poems by other poets.

Practice how you will read or perform the poem(s).

Provide the title, author, and reader/performer(s) of your poem to the Production Crew.

Provide audio/visual needs to the Production Crew.

Write and design a flyer or other publicity for the event.

For the flyer, gather information about the poems, poets, reader/performers, and fundraising activity if the Poetry Slam includes a fundraiser.

Photocopy the flyer or make a plan to do so.

Make a plan for distributing the flyer.

Write and design an Event Program to hand out at the event

For the Event Program, gather information about the poems, poets, reader/performers, and fundraising activity if the Poetry Slam includes a fundraiser

Be sure to include "special thanks" to everyone outside the program group who is helping with or contributing to the

Poetry Slam in any way.

THE POETRY SLAM

A poet who reads his verse in public may have other nasty habits

Today marks the highly anticipated Poetry Slam performance You have meticulously prepared by reviewing your checklist and coordinating with your co-leader and key participants to ensure they are ready If a fundraiser is part of the event, remember to communicate with the organizers Now, all that remains is to enjoy the experience.

Instead of an Opening, this workshop has a Gathering and Focus activity There is no Closing.

 Honor our spirits, creativity, and craftsmanship by sharing our poems with others

 Implement a public performance of poetry, and experience its impact

 Optional: Contribute individual and collective energy toward fund-raising to help others in the wider community

 Connect with the congregation through the sharing of ideas/reflections

 Gift the congregation with a live performance while making use of their individual talents

 Optional: Use their talents to raise money to help those in need

Closing Faith in Action: Performing the Choral Reading

As you prepare for the participants' performance, it's natural for them to feel anxious, making your role as a calming presence crucial To achieve a sense of calm, consider visualizing the event in a distraction-free space Close your eyes and imagine the workshop unfolding—from your carefully prepared opening to the performances and the heartfelt congratulations exchanged afterward Trust in your ability to handle any challenges that arise, and remember that the youth look to you for guidance to help them shine Embrace this opportunity and go for it!

Gather around the chalice As a volunteer lights the chalice, ask the group to focus on the word “perform.”

Encourage participants to openly share one or two words they associate with "perform." After allowing sufficient time for everyone to contribute, conclude the session by summarizing the insights gathered.

Let us cultivate a space today that is expansive enough to embrace our diverse ideas and profound enough to nurture their growth, enabling them to flourish and generate new beginnings.

Introduce today’s workshop with these words,

In this program, we have explored the diverse experiences of reading, hearing, writing, and sharing poetry Congratulations on embracing the openness, creativity, and adventurous spirit needed for your personal journey in poetry Today, we will focus on planning a public poetry event, turning our attention outward to share our passion with a wider audience.

When we deeply connect with a poem, our desire for positive feedback from others increases A poem that resonates with our emotions naturally leads us to hope for a warm and appreciative reception Therefore, let’s craft our Poetry Slam to foster an environment where listeners approach our work with the open hearts that our heartfelt expressions truly deserve.

We can simply read our poems aloud

Our Poetry Slam will blend the open mic tradition of the beatniks with the competitive spirit of the 1990s poetry slam, creating a unique non-competitive performance art event We invite participants to share their original works in a welcoming environment, with the option to include music and incorporate fundraising elements like a bake sale Today, we will select the poems to be featured and design an engaging space for our audience to fully experience the art of poetry.

ACTIVITY 1: GATHERING AND FOCUSING (10 MINUTES)

 Make sure microphones are live.

Participants receive guidance before the Poetry Slam to help them gather their energies for the event, focus on their roles, and observe their own responses

Take attendance; in the event of a participant's absence, re-delegate roles as needed Solve last-minute crises Allow readers a minute to practice with the microphone.

Remind participants to be mindful of their own experiences during this event, to help them form their thoughts for the reflection activity you will do in the next workshop

Have everyone come together for a quiet moment, to gather group energy You may use the Opening designed by the group or the one below.

Gather everyone around the chalice and invite a volunteer to light it while encouraging the group to focus on the word "fun." Ask participants to share a word or two that they associate with "fun" in an open and free manner Once everyone has had the opportunity to contribute, conclude the gathering by urging everyone to "Go out and have fun!"

 Copies of poems to be read

 Optional: Other audio-visual equipment and props as needed

Remind participants to use the microphone for all readings, even if they think they have a voice that can be heard without amplification.

Do not be conformed to this world,

But be transformed by the renewing of your minds.

 Optional: Props, costumes, or music that the group planned to use

 Copies of the choral reading script

 Make enough copies of the choral reading script for each reader to have one

 If additional rehearsal time is needed, plan to meet thirty minutes before the scheduled gathering time for the Poetry Slam and run through the choral reading a couple of times.

Begin the choral reading by informing the audience about any spoken parts they will participate in, ensuring this is clearly announced at the start of the performance Direct them to their lines, which should be included in the program unless they are brief enough to memorize Additionally, take a moment to recognize the congregants who contributed poems to the reading.

Congratulations on your accomplishments! Take a moment to appreciate your co-leader's support throughout this journey As you prepare for the upcoming workshop, which will be your final meeting, review the planned activities and assign leadership roles for each If you have any important information to share with the group that hasn't been addressed yet, ensure you incorporate it into the agenda for the next session.

A poet who reads his verse in public may have other nasty habits

How does your experience with the Poetry Slam compare to other performances of which you have been a part?

EXPLORE THE TOPICS FURTHER WITH FAMILY AND FRIENDS

 In preparation for Workshop 14, read Handout 1, Preparing for the Poetry Slam Review, that was distributed during Workshop 12.

Humor can be a valuable companion during poetry readings, as highlighted by Heinlein's amusing quote Reflecting on your experience at the Poetry Slam, consider the nerves you felt, any mistakes you made, and the audience's response Were there moments that brought a smile or laughter? Ultimately, every performance offers lessons, and this experience is no exception—what insights have you gained from it?

Youth Speaks Online is the nation's leading non-profit presenter of spoken word performance, education, and youth development programs

Gary Mex Glazner, ed Poetry Slam: The Competitive

Art of Performance Poetry San Francisco: Manic D

When selecting poetry anthologies for youth, it's crucial to ensure that the content is age-appropriate and free from violent imagery, sexual language, and stereotypes Prioritize diversity in ethnicity, race, gender, and culture to provide a well-rounded experience Consulting a local youth librarian can also yield valuable recommendations There are numerous anthologies available, so choose wisely to enrich the group's literary exploration.

Cosman, Carol, Joan Keefe, and Kathleen Weaver, eds.

The Penguin Book of Women Poets New York: Penguin

Collins, Billy, ed Poetry 180: A Turning Back to Poetry New York: Random House, 2003.

Reed, Ishmael, ed From Totems to Hip Hop: A

Multicultural Anthology of Poetry Across the Americas 1900-2002 New York: Thunder’s Mouth Press, 2002.

Roman, Camille, Thomas Travisano, and Steven Gould Axelrod, eds New Anthology of American Poetry Piscataway, NJ: Rutgers University Press, 2005.

TO TELL THE TALE

A poem is never finished, only abandoned

— Paul Valery (at www.worldofquotes.com/author/Paul- Valery/1/index.html), French critic and poet

This workshop offers a chance for participants to engage in review and reflection, making it a perfect opportunity to celebrate achievements Attendees are encouraged to enhance the final session by bringing food and drinks or sharing photographs and videos from the Poetry Slam.

 Allow participants to reflect upon the Poetry

Slam experience and integrate what they learned

 Allow leaders to collect feedback on the program

 Give voice to their experience of the Poetry

 Shape the future of Exploring Our Values through Poetry by evaluating the program

 Give thanks to those who helped them with the performance

Faith in Action: Choral Reading Review 20

This workshop invites participants to reflect on their experiences during the Poetry Slam and the overall program Prior to the workshop, take time to consider what leading this program has meant to you, using Handout 1, Exploring Our Values through Poetry Evaluation, or another reflection method Think about whether you would like to lead it again and what changes you might implement Remember, the program is not just a collection of words; it is a dynamic experience shaped by you and the participants Each facilitation will be unique, influenced by various factors If you wish you had approached certain aspects differently, practice self-forgiveness, and cherish the successful moments you created.

Gather around the chalice As a volunteer lights the chalice, ask the group to focus on the word "closure."

Encourage participants to openly share one or two words they associate with "closure." After everyone who wants to contribute has had their turn, conclude the session.

Let us cultivate a space today that is expansive enough to embrace our diverse ideas and profound enough to nurture their growth, allowing them to flourish and generate new opportunities for the future.

To enhance the final meeting's celebratory atmosphere, consider offering refreshments, which can be provided by program leaders or contributed by families in advance If permitted by congregational policies, hosting the meeting at a nearby coffeehouse or restaurant can also be a great option.

To effectively review the Poetry Slam experience, consider these options: Craft a one-page journal-style response reflecting on the planning and presentation of the event Alternatively, write a poem that captures the emotions of presenting poetry, either from the viewpoint of a performer or an organizer involved in a different aspect of the Slam Lastly, formulate three to five open-ended questions to engage audience members post-event, steering clear of simple yes/no inquiries like "Did you like it?" to foster deeper discussion.

Participants evaluate the Poetry Slam experience.

Invite participants to assemble, ensuring they have their journals and writing instruments ready Emphasize that while it's common to want to critique the poems and the event, this writing exercise focuses on allowing individuals to share their personal experiences The goal is to express feelings rather than opinions, fostering a space for personal reflection rather than analysis.

Encourage participants to read the writing prompts aloud and select one to inspire their writing For those choosing the second option, clarify that they can adopt any perspective for their poem, excluding that of the audience After four to five minutes of writing, check in with participants to see if they want to share their thoughts or need additional time If desired, provide extra minutes for them to continue their creative process.

Invite participants to read aloud part or all of what they have written Thank each participant for contributing his/ her reflections

In a follow-up discussion, delve into the diverse emotions experienced by participants, highlighting both commonalities and contrasts in their feelings Address any critiques regarding the poetry or the event while guiding the conversation to focus on emotional responses rather than opinions Encourage the group to assist in distinguishing between feelings and opinions to foster a deeper understanding of the experience.

Now invite the group to critique Explain that "I didn't like " is most useful when accompanied by a thoughtful

"because " Use these guide questions:

 How well did we honor our poems? In that regard, what worked and what did not?

 How well did we honor our audience and make it easy for its members to truly listen? What worked and what did not?

 Did we feel a connection between the poems and the audience? Were the poems truly heard? Why?

We extend our heartfelt gratitude to everyone who participated in the Poetry Slam for their openness, creativity, and sense of responsibility that enriched the project We encourage participants to express their appreciation by writing thank-you notes to those who, while not directly involved in the workshop, played a vital role in supporting the event If mailing these notes is required, we will assign someone to handle the distribution of the thank-you cards.

 Handout 1, Exploring Our Values through Poetry

Evaluation (included in this document)

 Photocopy Handout 1, Exploring Our Values through Poetry Evaluation, one for each participant.

Thank participants for the work you shared together Ask participants to complete and return the handout Remind the youth to take their journals home.

Gather participants around the chalice and encourage them to reflect on the phrase "exploring our values through poetry." Invite everyone to share a word or two that resonates with this theme Once all interested participants have contributed, conclude the session with a closing statement.

Let the inner space we cultivate through our efforts be expansive enough to embrace our shared ideas, and profound enough to nurture their growth, enabling them to flourish and generate new beginnings.

 Thank-you notes and pens

Discuss the youths' experiences of creating and performing a choral reading Use these questions:

 What was this experience like?

 How did the use of poem fragments destroy, enhance, or otherwise change the meaning or impact of each original poem?

 Identify moments when fragments complemented each other or seemed to clash

Transferring poems from their printed context to an audio and movement format can evoke a sense of liberation, allowing them to resonate in new ways In choral readings, the poems acquire dynamic qualities that their static printed forms often lack, such as rhythm, emotion, and communal engagement This transformation enhances the overall experience, inviting listeners to connect with the poetry on a deeper level, emphasizing its auditory and performative aspects.

Take the time to express gratitude by writing thank-you notes to all participants who submitted poetry for the choral reading Designate an individual to handle the delivery or mailing of these notes, and ensure that stamps are provided for those being sent through the mail.

Take the opportunity to celebrate with your co-leaders and reflect on the overall program experience Utilize the evaluation feedback to guide your reflections, and consider sharing your insights with the religious educator in your congregation to highlight how the semester unfolded.

A poem is never finished, only abandoned

— Paul Valery (at www.worldofquotes.com/author/Paul- Valery/1/index.html), French critic and poet

We reviewed the experiences of the Poetry Slam, fundraiser, and Choral Reading We evaluated the overall program.

Which poems from the program were your favorites and why?

EXPLORE THE TOPICS FURTHER WITH FAMILY AND FRIENDS

Tiêu đề	Exploring Our Values Through Poetry A Tapestry of Faith Program for Youth High School
Tác giả	Karen Harris
Người hướng dẫn	Judith Frediani, Susan Lawrence, Jessica York, Nancy Burnett
Trường học	Boston University
Chuyên ngành	Education
Thể loại	program
Năm xuất bản	2008
Thành phố	Boston

Định dạng
Số trang	158
Dung lượng	909 KB