Concept: Persuasion

Question:
Why does “Everybody Needs a Little Controversy”?
Key Ideas
· How context shapes perspectives and ideas
· The power of language and music to persuade and position others

Assessment Tasks

Assessment Task 1: “Knock on Wood” - Original Poem or Song & Critical Reflection, Outcomes: 1, 9 & 10
Assessment task 2: A Protest Poetry/Song Australian Exhibition, Outcomes: 1 & 9 /

Cross Curricular

Civics & Citizenship
Aboriginal & Indigenous
Literacy
Spelling, Vocabulary, Critical Reflection. Writing skills: using imagery and descriptive devices

Language modes

Reading/writing/speaking/listening
School to Work
Assign different tasks to team members to meet deadline
Set priorities
Work independently and effectively

Texts

A variety of protest songs and poetry by composers such as:
Eminem
Archie Roach
Bob Dylan
David Hallett /

Outcomes

A student:
1. responds to and composes increasingly sophisticated and sustained texts for understanding, interpretation, critical analysis and pleasure.
9. demonstrates understanding of the ways texts reflect personal and public worlds.
10. Questions, challenges and evaluates cultural assumptions in texts and their effects on meaning.
Rationale
"I do say things that I think will shock people," he says. "But I don't do things to shock people. I don't know how long I'm going to be on this planet. So while I'm here, I might as well make the most of it." Eminem
This stage 5 unit employs a range of protest songs and poetry by a variety of composers to critically focus on the use of language features, form and music to convey meaning and ideas. The context of each composer is carefully considered as are the issues that reflect their times such as the Vietnam War or racial prejudice. A variety of exercises that are informally assessed invite close and critical analysis of the power of language to raise significant issues that are relevant and current.
You will be composing an original song or poem that focuses on a current issue you are concerned about, and critically evaluate your poem or song. The second task involves you working in a group to recommend the protest poems and songs the group would place in an Australian exhibition. (NOTE: Please replace some songs each year with more current ones!)
Syllabus content / Learning content and activities / Quality teaching
Students learn to:
1.1 / · Respond to and compose a range of imaginative, factual and critical texts which are increasingly demanding in terms of their linguistic, structural, cognitive etc complexity / Higher-order thinking
1.3 / · Analyse the effectiveness and impact of texts on responders in terms of ideas, perspective and originality / Deep understanding
1.4 / · Explain their responses to texts and their widening personal preferences within and among texts / Connectedness
1.5 / · Respond to texts from different reading positions as an aspect of their developing moral and ethical stances on issues / Problematic knowledge
9.1 / · Respond to and compose texts that reflect their expanding worlds from the personal to the public / Connectedness
9.2 / · Relate the content and the ideas to the world beyond the text / Connectedness
9.3 / · Describe ways in which their own responses to texts are personal and reflect their own context / Connectedness
9.5 / · Draw conclusions about their values in relation to the values expressed and reflected by texts, etc / Higher-order thinking
10.4 / · Engage with details of texts to respond and compose from a range of social and critical perspectives / Higher-order thinking
10.6 / · Compose texts that reflect cultural attitudes other than their own / Cultural knowledge
Students learn about:
1.7 / · The ideas, information, perspectives and ideologies presented in increasingly demanding imaginative texts and the ways they are presented / Higher-order thinking
Problematic knowledge
1.8 / · The features of increasingly complex imaginative texts, including the cognitive, emotional and moral dimensions of the text and its linguistic and structural features / Deep knowledge
1.11 / · Their own emerging sense of style, personal preference and discernment in responding to and composing texts / Connectedness
1.12 / · How inference, figurative language can be used in complex and subtle ways / Higher-order thinking
9.6 / · The ways different and changing views of the world shape meaning / Deep knowledge
9.7 / · The ways personal perspective is shaped by social, cultural and historical influences / Deep knowledge
9.8 / · The ways personal perspective shapes meaning / Connectedness
9.10 / · How alternative readings of texts reflect responders’ personal and public worlds and what they value in the text. / Problematic knowledge
10.7 / · The language used to express contemporary cultural issues / Cultural knowledge
10.8 / · The effects of personal, social, historical perspectives on language and communication / Deep knowledge
10.9 / · The ways in which particular texts relate to their cultural expressions and the culture of others / Cultural knowledge

Karen Yager

Week 1: “The unexamined life is not a life worth living for a human being” Socrates, 420 BC.

Content: / Learning and teaching activities / Quality teaching
Spelling – look, cover and write. Find 15-20 challenging words you encountered in the extracts. Find the meaning of 5 words. / Metalanguage
Learn to:
1.4
9.3
Learn about:
1.7
9.7
9.8 / Lesson 1 - Introduction to the unit:
Socrates would have agreed with Eminen that people need to knock on wood, to question and challenge what happens in life. One way to make a comment about an aspect of society that you feel needs to be questioned is through protest songs or poetry.
Discussion questions:
1. Discuss the singers or songs you have come into contact with that raise a concern about some aspect of life or humanity.
2. If you were to compose a protest song or poem what would you write about? Explain why.
3. In pairs select an issue and compose a mind map that shows the areas of concern about this issue. / Connectedness: Link understanding to current issues
Background knowledge: Connecting learning to prior knowledge
Substantive communication: Meaningful discussion
Learn about:
1.8
1.12 / Lesson 2: Revisiting Language Features & Responding to a Poem or Song:
Complete the exercises on the sheet provided. It is imperative that you when you respond to a poem or a song that you are able to use the metalanguage to analyse them. / Background knowledge
Metalanguage: Using poetic devices
Learn to:
1.1
1.3, 1.4
Learn about:
1.7, 1.8
9.6, 9.7
9.8, 10.7 / Lesson 3: Eminem ‘Without me’
Read the contextual information on Eminem, listen to the song, and then complete the activities on the lesson 3 sheet. / Deep understanding: Focus on textual details and features
Learn to:
1.5
9.1
9.5
10.4
Learn about:
9.10 / Lesson 4: Class Debate
Eminem – Everyone needs a little Controversy
Eminem’s music is controversial as it is designed to shock and provoke thought. Read the news article that reports of groups in Australia who tried to stop the 2001 tour. Form two groups in the class representing his supporters and critics, and debate whether Eminem’s music should be banned. You will have 5 minutes to come up with your arguments before the debate begins. Two people should be selected to control the debate ensuring that everyone has a chance to express their point of view. / Substantive communication: class debate on the controversial issue of censorship
Problematic knowledge: Considering others’ perspectives

Lesson 2: Revisiting Language Features

a. Tone: this is how the composer feels about the subject of the poem. The word choice, poetical devices and symbolism will convey the tone of the poet. There are many words that can be used to describe tone. E.g: angry, concerned, frustrated, critical, mocking, bitter, cynical, etc.

Exercise:

Take an issue that you feel strongly about and carefully select your words to create a tone that is critical and frustrated in a short written piece:

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b. Word Choice: words are very powerful and persuasive when used effectively. The words used convey the composer’s attitude and message. The words in a protest song or poem can be emotive (stirring emotions) and/or satirical (mockingly making a comment about society’s flaws).

Exercise:

Select two of the poems or songs in this unit and write down 9 emotive or mocking words or phrases:

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c. Structure: a song usually has a repeated chorus and the words may or may not rhyme. Protest poems can be free verse or lyrical with a rhyming scheme.

d. Poetical Devices: there are so many poetical devices that a composer can use. Below are some of the main ones you need to know:

i. Similes: a comparison using ‘like’ or ‘as’. E.g. “He floats like a butterfly.”

ii. Metaphors: where one thing becomes the other. Eg. “War is a destructive monster.”

iii. Personification: giving human qualities to a non-human object. E.g. “The hydrogen bomb left behind a sinister calling card.”

iv. Oxymoron: two contradictory words placed together to make a dramatic point. E.g. “cruel tears” and “sweet sorrow”

v. Hyperbole: dramatic exaggeration. E.g. “I am so hungry I could eat a horse.”

vi. Apostrophe: addressing an inanimate object or a dead person as if they were alive. E.g. “Death be not proud though some have called thee mighty…”

vii. Repetition: repeating key words.

viii. Alliteration: repeating the first letter (consonant) at the beginning of a number of words. E.g. “The rifles rapidly fired and reloaded.”

ix. Consonance: repeating the consonant anywhere in a number of words. E.g. “Deadly destruction of the world.”

x. Assonance: repeating the vowel sound in a number of words. E.g. “It is a sin.”

xi. Onomatopoeia: a word that echoes the sound it represents. E.g. “The bullets whistled past his head.”

xii. Sibilants: repetition of the ‘s’ sound in a number of words. E.g. “Silent gas suffocated the sleeping soldiers.”

e. Other Features:

i. Irony: saying one thing but meaning another. E.g. “War doesn’t hurt anyone.”

ii. Symbolism: a representation. E.g. The rose for beauty and love.

iii. Pathetic Fallacy: using nature to reflect human feelings. E.g. “Brent’s ribs were painful and he winced in pain when he turned to look at the bruised and angry storm clouds building in the East.”

iv. Person: 1st: ‘I’; 2nd: ‘You’; 3rd: ‘He’ or ‘She’ or ‘They’

v. Imperative Voice: forceful verbs, ordering someone to do something. E.g. “Open your mind to injustice.”

f. Rhyme and Rhythm:

i. Repetition: A powerful way to place emphasis on the key words and the message of a poem or song.

ii. Rhyme: A rap employs rhyme to make it catchy and more memorable.

g. Musical Features:

i. Vocals: comment on the pitch, pace and tone of the voice.

ii. Pace: comment on the speed, slowness, etc.

iii. Instrumental: comment on the choice of instruments and their impact on the sound of the song and the message.

Exercises:

Identify the following features:

a. “The river was choking on the rubbish.”______

b. “Slowly, silently and stealthily he crept…”______

c. “You missed the target by a mile.” ______

d. “The urge to kill is like a barb in the soul.” ______

e. “She was a fair, frail child.” ______

f. “The monstrous anger of the guns.” ______

g. “And each slow dusk a drawing down of blinds.” ______

h. “The clubbing of the gun.” ______

i. “As the battle reached its climax, the terrifying storm erupted in the sky.” ______

j. “He waded through the waist deep water.” ______

k. “Oh glorious sun shine on this beauty!” ______

l. “Men marched asleep.” ______

m. “An arm twist, a combat boot against the skull, a .45 jabbed into the mouth”

______

n. “Sunlight throws scythes against the afternoon.” ______

______

o. “Oh beautiful, beautiful child now you are free…” ______

______

Responding to a Poem or Song

You will need to comment on some or all of the following when you respond to the poems or songs:

a. Context: The times, values and concerns of the composer and what role they play.

b. Purpose: E.g. persuade, express an opinion, create, entertain or inform.

c. Audience: Whom the poem or song was intended for and how this impacts on the subject matter and language features.

d. Issues or Concerns: State what the issues or concerns are and discuss how these reflect the times or context of the composer.

e. Tone: How the composer feels - describe the tone (note any shifts in tone) and give examples of the words or devices that convey the tone.

f. Language Features: Identify them, comment on their impact on the reader or listener and discuss why the composer uses them.

g. Music & Vocals: Describe the pace, delivery, tone, instruments, etc.

h. Your personal response: Do you agree or disagree with what is being said and do you feel that the text effectively conveys its message?

Lesson 3: Eminem – ‘Without Me’

Born Marshall Bruce Mathers III, on October 17, 1972, in Kansas City, Missouri. Eminem spent a good deal of his childhood moving back and forth between Kansas City and the Detroit metropolitan area; when he was 12, he and his mother moved permanently to Warren, Michigan. A fan of rap music from a young age, Eminem began performing at age 14. Although he dropped out of high school and worked at odd jobs for a number of years, his focus remained on his music.

Eminem first recorded as half of the Detroit rap duo Soul Intent, and made his solo debut in 1996 with the independent release Infinite. The album was soon followed by The Slim Shady EP—both releases made quite a splash in the hip-hop underground, and soon Eminem was being praised both for his exaggerated, nasal-voiced rapping style and the bluntly controversial nature of his lyrics. Not in the least, he gained notice because of his skin colour, and was soon hailed as rap music’s next “great white hope.”