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Quarter 3: Poetry Topic 3: Afro-Asian Contemporary Poetry

Timeframe: 10 days

STAGE 1 Content Standard: The learner demonstrates understanding of how haiku / hokku / tanka, and other Afro -Asian poetry present and promote the ideals, beliefs, culture and experiences of the people; thus enhance and preserve worth while universal values.

Performance Standard: The learner writes an original haiku.

Essential Understanding: The structure and content of Afro-Asian poetry reflect the people’s identity that contribute much in promoting and enriching their beliefs, attitudes, tradition and culture; thus help in the betterment of the society and the world.

Essential Question/s: Why do learners study Afro-Asian poetry?

Learners will know:

• The elements of Haiku / Hokku

• Characteristics of Tanka and Hokku that set them apart with other Afro-Asian poems

• gerunds

Learners will be able to:

• write an original and creative Haiku

• express their feelings through the use of other Afro-Asian poetry

• use gerunds in expressing appreciation and understanding of Afro-Asian poetry

• understand that the structure and content of Afro-Asian poetry establish its connection to the real world .

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STAGE 2 Evidence at the level of

Product or Performance Task: Understanding Performance

A creative and original Haiku Explanation Discuss the nature, special features and elements of Haiku /hokku/ tanka/ and other contemporary Afro-Asian poetry. Interpretation Analyze the distinct qualities of a haiku, hokku, and tanka Application Write a haiku. Perspective Compare Afro Asian language, oral traditions and poems that reflect their customs, cultureand societies. Empathy Evaluate own and others’ style for organizing, preparing and presenting a very unique haikku. Self-knowledge Recognize one’s knowledge, strengths and values as effect of one’s understanding and appreciation of a haiku and other contemporary Afro-Asian poetry.

Performance assessment of a haiku based on the following criteria:

• Focus/Theme

• Imagery

• Rhythm

• Language

• Visuals

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STAGE 3

Teaching/Learning Sequence:

1. EXPLORE

At this stage, the teacher should be able to do the following:

• Establish learners’ awareness on the desired result, that is, for him or her to demonstrate literary

understanding of how haiku, tanka, hokku and other Afro-asian poems present and promote the ideals,

beliefs, culture and experiences of the people to enhance and preserve worthwhile universal values.

• Introduce the EQ “How are meaningful perceptions being shaped in Afro-Asian poetry?

• Conduct a short item needs assessment to check learner’s readiness and competence on the pre-

requisite skills to the task at hand (both in poetry and language readiness)

• Let the learner share their knowledge on Afro-Asian Literature particularly poetry

• Inform the learners that their major output is to write sample haikus and that they will be assessed based

on a given set of criteria.

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Suggested Activities: Activity 1: Symbols

1. Post pictures about life, beautiful scenery, or lovely things that appeal to your senses. 2. Ask students to describe the pictures and feelings they convey.

Activity 2: Japan that I know

1. Group the students into four (4) 2. Each group must be provided with a box and meta strips. 3. Ask each group to write on a meta strips any information that they know about Japan. 4. Drop the meta strips in the box. 5. Ask a representative to read the answers aloud. 6. The group with the most number of answers wins the game. 7. Process the activity by asking these set of questions:

• How many information have you gathered?

• What does this information mean to you?

• What connection between yours and Japan have you seen?

• How do you feel about this connection?

• What does this connection imply? 8. Use this activity as to activate prior knowledge.

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Activity 3: Fun with Japan

1. Have the students grouped into five (5). 2. Give them a copy of the trivia about Japan. 3. Ask them to read and explore Japan using the trivia sheet. 4. Process the activity by asking the questions:

• What interesting facts about Japan have you discovered?

• What commonalities between Japan and the Philippines are revealed by these facts?

• Which fact did you find most interesting? Why?

• Which detail tells you that Japan is a unique country?

• How important is identity to a country?

• How is it important to a person?

Information guide: 1. People 2. Culture 3. History 4. Language 5. Life style 6. Economy 7. Religion 8. Education 9. Entertainment 10. Geography 11. Others

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Trivia Sheet

• 10% of the world's volcanoes are in Japan. Among them, 108 have erupted in the last 10,000 years, 50 in the last 100 years, and 36 are currently active. � Japan is the 60th largest country in the world (out of over 200) in terms of land area. It is 25 times smaller than the USA or People's Republic of China, but is slightly bigger than Germany, 3 times larger than England, and close to 10 times more spacious than the Netherlands. � Japan is the 10th most populous country in the world*. It's population is equal to the United Kingdom, France and Denmark combined. � Mount Fuji (3,776 m) is the 4th most prominent peak in Asia outside the Himalayan range (the three others are in Indonesia and Malaysia). � Apart from the four main islands, Japan is composed of over 3,000 smaller isles.

• The world's largest fish market is the Tsukiji fish market in Tokyo.

• There are about 1,500 sake ("rice wine") breweries in Japan.

• Restaurants in Tokyo were awarded twice more Michelin stars than those in Paris, making it the culinary capital of the world. Tokyoites can choose where to dine from over 200,000 restaurants - a world record.

� Japan has the highest life expectancy in the world (as of 2009), nominally surpassed by tiny city-states like Andorra and Macau, but by no other proper nation. Japanese people live in average 4 years longer than US citizens, 3 years longer than the Germans, the Belgians or the Brits, 2 years more than the Italians and 1 year longer than the French. � The old Japanese language was a blend of ancient Korean and Ainu language. � English is the only foreign language taught in public Japanese schools.

• There are tens of thousands of English words used daily in modern Japanese (often not understood by the older generation), and the number keeps growing fast year after year.

• Japan's national anthem, Kimi Ga Yo

(君が代), is the world's oldest anthem,

although it was only officially recognised as such in 1999. It is based on a 9th century poem.

• Fortune cookies are not a Chinese invention, but a Japanese

• Uninterruptedly since the sixth century, the Japanese throne has been occupied by a member of the same family.

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Activity 4: Syno-bles

• Ask the students to find the synonym of the words below.

• Since haikus follow a pattern in word’s syllables, it is a must that they know their vocabulary.

• Use this activity as preparation to students’ writing of own haiku.

• Introduce the essential question, and let them give tentative answers.

• Make them aware of their major output, a creative and original haiku based on a given set of criteria.

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2. FIRM UP Activity 5: Discover Haiku

o Ask the students to study the haikus below written by Ryunosuke Akutagawa (1892-1927) and j. Hakket. o Accomplish the haiku characteristic sheet . o Process the activity be asking relevant questions on haiku and how it made Asian poetry unque from other poetry around the world.

Sick and feverish Glimpse of cherry blossoms Still shivering.

Half of the minnows Within this sunlit shallow Are not really there.

Deep within the stream The huge fish lie motionless Facing the current.

Characteristics Description

Rhyme

Theme

Syllables

Number of Lines

At the stage, the teacher should be able to the following:

• Make the learners understand the Afro-Asian Contemporary poetry through the variety of authentic activity.

• Use gerunds and infinitives in expressing appreciation and understanding of Afro-Asian poetry

• Engage them on the following meaningful and challenging activities to analyze, generate and test their understanding

• Provide feedback to check for understanding.

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Activity 6: Dissecting Haikus

• Group the students into (5).

• Ask them to study the haikus below written by Matsuo Basho.

• Provide each group with a Q-Card to accomplish.

• Note that due to translation, some of the examples lack other forms but are complete in terms of elements A. Some of them with staves,

And white-haired-a whole family visiting graves!

B. Many, many things They bring to mind – Cherry blossoms

C. On a withered branch A crow has settled – Autumn nightfall

Q-Card B 1. What reality about life is symbolized by “cherry blossoms”? 2. What does Basho have in mind about cherry blossoms? Do you have the

same thought about it?

Q-Card A 1. What are staves? 2. What related ideas come to your mind when you hear the word

staves? 3. Which idea is being described by the poem? 4. What feelings is the poem trying to communicate?

Q-Card C 1. What does withered branch symbolize? 2. What reality about life is revealed by the relationship established

between the crow and the withered branch? 3. How do you feel about autumn?

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Activity 8: Tanka Attack

• Group the students into three (3).

• Give students samples of Tanka below.

• Ask them to characterize Tanka using the elements?

• Compare and contrast Tanka and Haiku.

• Encourage them to write their answers on a manila paper and present the output to the class.

Beautiful mountains

Rivers with cold, cold water.

White cold snow on rocks Trees over the place with frost

White sparkly snow everywhere.

Pretty colored trees

That are orange, red and yellow In the Autumn air

An old barn by the water

With a white fence around it.

The leaves change color

When the fall winds start to blow, Yellow, orange and brown

Are the colors of fall leaves, Slowly falling from the trees.

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Activity 9: Tanka Review

• Divide the class into five (5) groups.

• Provide each student Tankas to work on

• Make sure that these Tankas have samples of gerund.

• Analyze the gerunds included in the poem.

• Ask them how gerunds shape Japanese poetry. Activity 10: Infini-Tanka

• Divide the class into five (5) groups.

• Provide each student Tankas to work on

• Make sure that these Tankas have samples of gerund.

• Analyze the gerunds included in the poem.

• Ask them how gerunds shape Japanese poetry.

Activity 11: Gerunds hum too!

1. Ask the students to listen to the song “What Hurts the Most” 2. Flash the lyrics on the board using a chart or power point presentation. 3. Encourage them to identify the gerunds in the song. 4. Process the activity by asking the following questions:

• What is the function of gerunds in the song?

• How do they contour the meaning of the song?

• What is the song all about?

• What is its mood and how is this compared to a Tanka, Hokku and Haiku?

What Hurts the Most I can take the rain on the roof of this empty house That don't bother me I can take a few tears now and then and just let them out I'm not afraid to cry every once in a while even though Going on with you gone still upsets me There are days every now and again I pretend I'm okay But that's not what gets me What hurts the most Was being so close And having' so much to say

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And watching' you walk away And never knowing' What could've been And not seeing' that loving' you Is what I was trying' to do It's hard to deal with the pain of losing' you everywhere I go But I'm doing' it It's hard to force that smile when I see our old friends and I'm alone Still harder getting' up, getting' dressed, living with this regret But I know if I could do it over I would trade, give away all the words that I saved in my heart That I left unspoken What hurts the most Is being so close And having' so much to say (Much to say) And watching' you walk away And never knowing' What could've been And not seeing' that loving' you Is what I was trying' to do, oh Oh yeah What hurts the most Was being so close And having' so much to say (To say) And watching' you walk away And never knowing' What could've been And not seeing' that loving' you Is what I was trying' to do Not seeing' that loving' you That's what I was trying to do,

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• Make the learners revisit the Essential Question/s and check their tentative answers.

• Impress upon them the structure and content of Afro-Asian poetry that promote and enrich the peoples’ beliefs, attitude, tradition and culture.

3. DEEPEN Activity 13: Supply and Count

1. Divide the class into two (2). 2. Give the each group a Tankas below to work on. 3. Ask the students to replace the highlighted words with synonyms but will still have the same number of syllables. 4. Process the activity using the following questions:

• What element of Tanka is highlighted in this activity?

• How important are synonyms and syllables in writing a Tanka?

Thunderclouds building Gathering strength as they grow Releasing themselves Pouring life-giving torrents Cleansing the world in shower

Thun/der/clouds build/ing Ga/ther/ing strength as they grow Re/leas/ing them/selves Pour/ing life giv/ing tor/rents Cleans/ing the world in show/er 5 syllables

7 syllables 5 syllables 7 syllables 7 syllables

Light, airy snowflakes Fall frostily on your nose Fascinating fun Frolicking in dainty flakes Gathering crystals gala!

Light, air/y snow/flakes Fall frost/i/ly on your nose Fas/ci/na/ting fun Frol/ick/ing in dain/ty flakes Gath/er/ing crys/tals ga/la

5 syllables 7 syllables 5 syllables 7 syllables 7 syllables

At this stage, the teacher should be able to do the following

• Provide learners with thought provoking questions that will make them reflect, revisit, rethink and revise their earlier assumptions

about African poetry; Asian poetry.

• Address the learner’s uniqueness, their strengths and weaknesses by providing them with differentiated instruction as needed.

• Engage them in meaningful and challenging activities that prompt cooperative learning and reinforce what they have learned.

• Engage them in meaningful self-evaluation

• Provide feedback to check their mastery of Essential Understanding and Content Standard.

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Activity 14: Check Your Tanka! 1.Divide the class into four (4). 2. Provide each group with a copy of Tanka. 3. Use the checklist below in evaluating the Tanka.

Indicators of a good Tanka Yes No

• Invokes a strong feeling in the reader.

• Flows like poetry, particularly when read aloud.

• Includes clear images.

• Includes some kind of shift.

• Shows immediacy and intensity of a particular moment, juxtaposing nature (the outer world) and human nature (the

inner world) in a new way.

• Shows emotional honesty and authenticity.

• Recognizes its connection to the tanka tradition, perhaps even back to the ancestors of uta and waka, while using

language as currently spoken.

• Does not sound like an awkward translation of Japanese.

Activity 16: Spot that Infinitive! 1.Group the class into four (4) 2. Provide each group with a copy of the song “Impossible Dream” by Martin Nievera 3. Ask each group to identify the infinitives used in the song. 4. Process the activity by asking relevant questions. Impossible Dream To dream the impossible dream To fight the unbeatable foe To bear with unbearable sorrow To run where the brave dare not go

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To right the unrightable wrong To love pure and chaste from afar To try when your arms are too weary To reach the unreachable star

This is my quest To follow that star No matter how hopeless No matter how far

To fight for the right Without question or pause To be willing to march into Hell For a heavenly cause

And I know if I'll only be true To this glorious quest That my heart will lie peaceful and calm When I'm laid to my rest

And the world will be better for this That one man, scorned and covered with scars Still strove with his last ounce of courage To reach the unreachable star

Activity 17: Into the Stars 1.Group the class into four (4) 2. Provide each group with a copy of the song “Wishing and Hoping” 3. Ask each group to identify the gerunds used in the song. 4. Process the activity by asking relevant questions. Wishing and Hoping Wishing' and hoping' and thinking' and praying' Planning' and dreaming' each night of his charms That won't get you into his arms So if you're looking' to find love, you can share All you gotta do is

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Hold him and kiss him and love him And show him that you care Show him that you care just for him Do the things he likes to do Wear your hair just for him 'Cau-au-ause, you won't get him Thinking' and a-praying' Wishing' and a-hoping' 'Cause wishing' and hoping' and thinking' and praying' Planning' and dreaming' his kisses will star-art That won't get you into his heart So if you're thinking' how great true love is All you gotta do is Hold him and kiss him and squeeze him and love Yeah, just do it, and after you do, you will be his You gotta show him that you care just for him And do the things that he likes to do Wear your hair just for him 'Cau-au-ause, you won't get him Thinking' and a-praying' Wishing' and a-hoping' 'Cause wishing' and hoping' and thinking' and praying' Planning' and dreaming his kisses will start That won't get you into his heart So if you're thinking' how great true love-ove is All you gotta do is Hold him and kiss him and squeeze him and love Yeah, just do it, and after you do, you will be his You will be hi-is You will be hi-i-is Activity 18: Put them all together! 1. Below is a song that puts gerund and your past lesson, imperative all together. 2. Group the students into five.

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3. Ask them to study and analyze the song. 4. Instruct them to highlight the gerunds, underline the infinitives and encircle the imperative signals used in the song. 5. Process the activity by asking questions on how these grammar tools helped develop the song’s message.

4. TRANSFER Activity 19: Tanka/Hokku/Haiku Style Diary 1. Ask the students to make a diary. 2. Instead of narrating the important events in your life, cut out sample Haiku, Tanka and Hokku to express these experiences. Activity 20: Tanka-logue 1.Ask students to recall a place they have visited. 2. Tell them to write a travelogue about this experience. 3. Instead of narrating, use Tanka to describe the experience. Activity 21: Haiku Writing Using these,

1. Ask the student s to recall an experience or revisit a place which can be used as a subject of their poems. 2. Let their feelings toward these experiences of place come out. 3. Ask the students to write their own haikus. 4. Inform them that they are to be assessed using the following rubrics:

• Focus/ Theme

• Imagery

• Rhythm

• Language

• Visuals

At this stage the teacher must be able to do the following:

• Have the learners make independent applications of their understanding of Afro-Asian Poetry as well as the language forms.

• Make learners write Haikus and Tankas

• Make learners do a diary and travelogue using Tankas and haikus

• Have them see the connections/links of the poem written with the real world.

• Give feedback for understanding.

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RESOURCES (Website, Software, etc.)

1.Haikus of Ryunosuke Akutagawa (1892-1927) and j. Hakket. 2. Haikus of Matsuo Basho. 3. “A friend by Keno” 4. “What Hurts the Most”” 5. Impossible Dream” by Martin Nievera 6. “Wishing and Hoping” 7. “Say that you love me” by J-ar and Kyla

MATERIALS

Sample Afro-Asian poems Sample Afro-Asian short stories Computer CD/DVD Internet

Graphic aid Pictures Art materials Sample rubrics