{"id":19984,"date":"2016-10-15T09:00:11","date_gmt":"2016-10-15T13:00:11","guid":{"rendered":"http:\/\/www.thehaikufoundation.org\/?p=19984"},"modified":"2016-09-05T11:16:06","modified_gmt":"2016-09-05T15:16:06","slug":"how-we-haiku-teaching-stories-9","status":"publish","type":"post","link":"https:\/\/thehaikufoundation.org\/how-we-haiku-teaching-stories-9\/","title":{"rendered":"How We Haiku \u2014 Teaching Stories 9"},"content":{"rendered":"

Teaching and Learning Haiku in Community and Classroom: Stories, Challenges, Adventures<\/strong><\/p>\n

Do you teach haiku? In a classroom? An arts foundation? Community education? We want to hear about it. Want some new ideas? A place to vet an old idea before you try it \u201clive\u201d? Community support? How We Haiku \u2014 Teaching Stories<\/em> is a monthly feature wherein we will share the many diverse and interesting ways your bring our favorite genre to your audience. Each month Brad Bennett and Jeannie Martin, co-chairs of The Haiku Foundation Education Committee, will host your stories of how you make haiku come alive for your students, and create an environment where educators can discuss the many challenges faced in bringing a fuller sense of haiku to a culture that knows little more than the stereotypes. Contact us<\/a> to share your teaching stories, to ask your questions, and to find fellowship with your peers and the rest of the haiku community. <\/p>\n

\n\u201cWe cannot teach a person directly, we can only facilitate his or her learning.\u201d
\n \u2014 Carl Rogers\n<\/p><\/blockquote>\n

We welcome your comments (scroll down to the bottom of the page). And don\u2019t forget about all the other fine education resources<\/a> the Foundation has to offer.<\/p>\n

\"images\"

This month Randy Brooks, Dean of Humanities at Millikin University, offers a particularly effective workshop method for teaching haiku.<\/p>\n

\n
My Preferred Approach to Haiku Workshops in Schools<\/h5>\n

A Haiku Workshop at Morrisonville Elementary School
\nMorrisonville, Illinois
\nMay 18, 2016<\/strong><\/p>\n

Over the years, it has been a pleasure to share the fun of haiku with students at all levels. When I provide haiku workshops in the elementary or secondary schools, I usually like to visit classes at least twice with a week or two between each visit. With multiple visits, the students can get a better sense of reading, writing, editing, publishing and sharing haiku.<\/p>\n

During the first visit, I emphasize the art of reading haiku by simply sharing excellent haiku with the students and asking them to imagine what they see, feel, or remember based on the haiku read. Then we talk about writing haiku with some introductory discussion of how haiku is a literary art emphasizing images\u2014words or phrases that evoke sensory perception and related memories. Often I will ask them to imagine being at a specific location or situation, such as the beach, then share things they might see, hear, feel, taste, or smell. I write their images on the board then ask them to write a couple of haiku based on these collected words and phrases. I end by encouraging the students to keep a haiku journal for the next week, writing about things they remember or see.<\/p>\n

Before the second visit, the teacher collects and sends me the student haiku. I go through their work and select some of their best haiku attempts for a kukai session. I also select some haiku that have a great deal of potential, but could be improved with editing. During the second visit, we start with the kukai session where students pick out favorite anonymous haiku and talk about what they imagine and feel from those haiku. We call out for the author and applaud their haiku. After the kukai session, we do a haiku editing workshop. I start by talking about four editing activities: (1) cutting unnecessary words; (2) adding words for better context or implied significance; (3) rearranging \u201cthe furniture\u201d by moving words, phrases and lines around; and (4) replacing less effective words with more evocative, effective words or phrases. (I note that replacing is just a combination of cutting and adding a more effective word.) <\/p>\n

If there is time for a third visit, I will work with the teacher to identify a student editorial team who I work with to review all submissions for a collection of student haiku. The student editorial team helps select haiku for the collection and suggest slight edits or revisions. They often help title and design the cover for the anthology. Sometimes these collections are published online or in a small booklet. The third visit is then a celebration of the publication of student haiku, with a reading for other students, teachers and\/or parents in the school.<\/p>\n

A One-day Workshop<\/strong><\/p>\n

However, for a recent workshop at Morrisonville Elementary School, I had only one day for the haiku workshop. It was almost the end of the school year, so there wasn\u2019t time for multiple visits. Therefore, I led a modified version of my preferred approach. Fortunately, I did get to have about 90 minutes to work with the sixth grade students. I still wanted students to experience the art of reading haiku, writing and editing haiku, and kukai<\/em> competition. Here is how I compressed the experience.<\/p>\n

I started by asking the students to close their eyes and imagine being in this haiku:<\/p>\n

\nthe sun coming up
\nfive eggs
\nin the iron skillet
\n \u2014 James Tipton, Bittersweet<\/em>, Cold Mountain Press, 1975\n<\/p><\/blockquote>\n

With their eyes closed, I ask them where this haiku took them. What colors do they see? What kind of day is it? Is it hot or cold out? What do you hear and smell? They open their eyes and tell me about going to grandma\u2019s house or camping. I ask them how they knew that the skillet was black. What do we lose if cut the word \u201ciron\u201d from this haiku? We enjoy thinking about sunrise and breakfast and all the things they imagine doing after eating a big breakfast.<\/p>\n

Morrisonville is a rural community, so I followed with another haiku by James Tipton:<\/p>\n

\nthe lambs sold
\ntufts of wool
\non the wire fence
\n \u2014 James Tipton, Bittersweet<\/em>, 1975\n<\/p><\/blockquote>\n

I asked the students to share what they imagine or feel from this haiku. Where are the lambs? Why have they been sold? Where do you imagine yourself in this haiku scene? Are you with the farmer? Is the farmer happy or kind of sad, or both? Have you had to sell a farm animal? How did you feel? Do you like the word \u201ctufts\u201d in this haiku? Why is \u201ctufts of wool\u201d better than \u201ca little bit of wool\u201d?<\/p>\n

The third haiku shared was by Shiki:<\/p>\n

\nspring breeze \u2014
\nthe green field
\ntempts me to play catch
\n \u2014 Masoka Shiki, If Someone Asks . . . Masaoka Shiki\u2019s Life and Haiku<\/em>, 2001\n<\/p><\/blockquote>\n

I ask the students to imagine this haiku and what a green field tempts you to do? Do you like to feel the breeze on your face? Japanese haiku often include a kigo, an image or phrase that expands the haiku into the feelings of a season. <\/p>\n

And since we are limited by time, I jumpstart the haiku writing process by asking students to write their haiku starting with \u201cspring breeze\u201d. Imagine you are looking out over a green field. What do you imagine you would like to do? Everyone writes a \u201cspring breeze\u201d haiku, then I ask students to share their haiku.<\/p>\n

We continue reading, imagining and writing haiku in response to additional haiku. You can see the complete list of haiku on the attached handout. We read the \u201cboiling beet tops\u201d haiku by Raymond Roseliep, and I talk about the difference even one letter makes in a haiku by changing the last line from \u201cloved\u201d to \u201cloves\u201d. We read the gruesome haiku:<\/p>\n

\ndead cat . . .
\nopen-mouthed
\nto the pouring rain
\n \u2014 Michael McClintock, The Haiku Anthology<\/em>, 2000\n<\/p><\/blockquote>\n

The students moan and snicker, then talk about times they have found a dead animal or lost their family cat or dog. We talk about how cold and dark it seems to be in this haiku, and why the cat\u2019s mouth is open. Then I write the following on the board and ask them why this would not be a very good haiku:<\/p>\n

\nI was sad
\nwhen I saw
\na dead cat\n<\/p><\/blockquote>\n

This is a sentence, but not a haiku. Why? The students puzzle over the two versions and decide that they like the first one better because it doesn\u2019t tell you what to think. It doesn\u2019t say how you feel, but you feel it more with the images in the first version. You get things like how the cat looked and the chill of the pouring rain. One of the students writes:<\/p>\n

\nGerman Shepherd
\nmy best friend
\ngone forever
\n \u2014 G.M.\n<\/p><\/blockquote>\n

We enjoy reading a few more haiku from the handout together. They love imagining the haiku by George Swede:<\/p>\n

\nwarm spring breeze
\nthe old hound runs
\nin his sleep
\n \u2014 George Swede, Almost Unseen: The Selected Haiku of George Swede<\/em>, 2000\n<\/p><\/blockquote>\n

To make up for the gruesome dead cat haiku, I share this one:<\/p>\n

\nspring evening \u2014
\nplaying with the last kitten
\nto be given away
\n \u2014 Chuck Brickley, The Haiku Anthology<\/em>, 2000\n<\/p><\/blockquote>\n

Again, the students notice that this haiku is both happy and sad. I ask them what kind of evening is it? How do you imagine it feels like to give away your kittens, especially the last one? We share our stories and are ready to write haiku for a kukai competition. <\/p>\n

To speed up the process, we write from a word or phrase prompt. <\/p>\n

The first prompt is \u201cmonkey bars\u201d and everyone writes a haiku about the playground, or more specifically about playing on the monkey bars. Here are some of the haiku attempts written:<\/p>\n

\nmonkey bars
\nwhere I feel free
\nswinging around, being the true me
\n \u2014 J.W.<\/p>\n

monkey bars
\nthe iron bars
\nfull of laughter and joy
\n \u2014 R.B.<\/p>\n

monkey bars
\nI can\u2019t
\ndo them
\n \u2014 B.B.<\/p>\n

monkey bars
\nfeeling lonely
\nit keeps me occupied
\n \u2014 R.O.<\/p>\n

monkey bars
\nmy sister doesn\u2019t
\nwant help
\n \u2014 T.M.<\/p>\n

monkey bars
\nsitting at the top
\neating a banana
\n \u2014 A.H.<\/p>\n

monkey bars
\nswinging around on them in the spring breeze
\nalone
\n \u2014 J.F.<\/p>\n

monkey bars
\nmy friends share lemonade
\non a hot summer day
\n \u2014 G.M.\n<\/p><\/blockquote>\n

We discuss what we like about the various \u201cmonkey bar\u201d haiku, then we select two or three favorites for a final vote (the ones in bold were selected as the best). B.B.\u2019s was selected as the favorite haiku of those three.<\/p>\n

After each haiku writing competition, the winner got to select the word or prompt for the next session. One student chose \u201cAmerica\u201d as the prompt. The resulting winning haiku was:<\/p>\n

America
\n4th of July parade
\nin a little town
\n \u2014 K.L.\n<\/p><\/blockquote>\n

I ended the workshop by reading from my collection of haiku, School\u2019s Out. Then students had one final kukai writing competition with \u201cschool\u2019s out\u201d as the prompt. Here are two of their haiku:<\/p>\n

\nschool\u2019s out
\npeople are dancing
\non the bus
\n \u2014 A.H.<\/p>\n

school\u2019s out
\nplaying baseball
\nwith friends in the cool breeze
\n \u2014 R.B.\n<\/p><\/blockquote>\n

I want to thank Mrs. Sarah Jennings, an inspiring sixth grade teacher at Morrisonville Elementary School, for hosting the haiku workshop and for permission to publish these student haiku.
\n\u2003<\/p>\n

\nHaiku Workshop Handout \u2013 May 18, 2016
\nMorrisonville Elementary School<\/p>\n

Dr. Randy Brooks
\nMillikin University<\/p>\n

the sun coming up
\nfive eggs
\nin the iron skillet
\n \u2014 James Tipton<\/p>\n

the lambs sold
\ntufts of wool
\non the wire fence
\n \u2014 James Tipton<\/p>\n

spring breeze\u2014
\nthe green field
\ntempts me to play catch
\n \u2014 Masaoka Shiki<\/p>\n

boiling beet tops
\nonly for the scent
\nPapa loved
\n \u2014 Raymond Roseliep<\/p>\n

dead cat . . .
\nopen-mouthed
\nto the pouring rain
\n \u2014 Michael McClintock<\/p>\n

on hands and knees
\nI follow a toad
\ndown the parsley row
\n \u2014 Jeff Ingram<\/p>\n

three ducks
\nwaddle across the playground
\njust before recess
\n \u2014 Joseph Pegura<\/p>\n

snow falls from tree branches
\nthe rumble
\nof passing boxcars
\n \u2014 Alan Pizzarelli<\/p>\n

warm spring breeze
\nthe old hound runs
\nin his sleep
\n \u2014 George Swede<\/p>\n

spring evening\u2014
\nplaying with the last kitten
\nto be given away
\n \u2014 Chuck Brickley<\/p>\n

headless snowman . . .
\nthe only snow left
\nin the schoolyard
\n \u2014 Randy Brooks<\/p>\n

school\u2019s out . . .
\na boy follows his dog
\ninto the woods
\n \u2014 Randy Brooks<\/p>\n

calling for the dog
\nat 2am
\nwind chimes
\n \u2014 Aubrie Cox\n<\/p><\/blockquote>\n","protected":false},"excerpt":{"rendered":"

Randy Brooks demonstrates a particularly effective workshop.<\/p>\n","protected":false},"author":2,"featured_media":16331,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[501],"tags":[661,660,642,96],"post_series":[],"class_list":["post-19984","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-teaching-stories","tag-randy-m-brooks","tag-teaching-resources","tag-teaching-stories","tag-the-haiku-foundation","entry","has-media"],"yoast_head":"\nHow We Haiku \u2014 Teaching Stories 9 - The Haiku Foundation<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/thehaikufoundation.org\/how-we-haiku-teaching-stories-9\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"How We Haiku \u2014 Teaching Stories 9 - The Haiku Foundation\" \/>\n<meta property=\"og:description\" content=\"Randy Brooks demonstrates a particularly effective workshop.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/thehaikufoundation.org\/how-we-haiku-teaching-stories-9\/\" \/>\n<meta property=\"og:site_name\" content=\"The Haiku Foundation\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/theHaikuFoundation\" \/>\n<meta property=\"article:published_time\" content=\"2016-10-15T13:00:11+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/thehaikufoundation.org\/wp-content\/uploads\/2015\/11\/thffeatureimage.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"500\" \/>\n\t<meta property=\"og:image:height\" content=\"300\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Jim Kacian\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@haikufound\" \/>\n<meta name=\"twitter:site\" content=\"@haikufound\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/thehaikufoundation.org\/how-we-haiku-teaching-stories-9\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/thehaikufoundation.org\/how-we-haiku-teaching-stories-9\/\"},\"author\":{\"name\":\"Jim Kacian\",\"@id\":\"https:\/\/thehaikufoundation.org\/#\/schema\/person\/457067dbaba09990ef5cd9efe6e6b61a\"},\"headline\":\"How We Haiku \u2014 Teaching Stories 9\",\"datePublished\":\"2016-10-15T13:00:11+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/thehaikufoundation.org\/how-we-haiku-teaching-stories-9\/\"},\"wordCount\":1965,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\/\/thehaikufoundation.org\/#organization\"},\"image\":{\"@id\":\"https:\/\/thehaikufoundation.org\/how-we-haiku-teaching-stories-9\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/thehaikufoundation.org\/wp-content\/uploads\/2015\/11\/thffeatureimage.jpg\",\"keywords\":[\"Randy M. 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