Hello TALONted friends.
I know that it’s my second time posting tonight, but that is because I accidentally wrote out the last post, but forgot to transfer it, and actually post it until today. Oh well, you just get a whole lot of your favourite person tonight.
Before I complete the tasks for this post, I just want to give you a quick summary of my mentor/mentee relationship so far. Obviously, as I’ve bragged about in last posts, and will do again, MY MENTOR IS PERFECT! She is easy to talk to, experienced, and knowledgeable. And yes, while it has been hard to organize meetings due to our busy, conflicting schedules; she also understands what I have on my plate right now, because she had the exact same situation in grade 9 and 10. Because of our very similar learning styles, neither of us are too far out of our comfort zones during the meetings, which makes it easier to do our jobs. Slam poetry can get pretty personal, which I’ve definitely learnt over the past few weeks. No matter how many metaphors I use to cover something up, sometimes the awful situation just sticks out like a sore thumb… or a bad metaphor in this case. That being said, I think that if I had a different mentor, I might be uncomfortable sharing my not so pretty side, which would restrict my learning. I haven’t shared every single poem with Emma, but I have with majority of them. If I had an awkward relationship with my mentor, I probably wouldn’t be inspired to write such deep poems in the first place, with would then stop me from learning mentally, as well as literally.
I found the following in my notes because, as Edward de Bono advocates, “You need to seek to pick out the concept behind what is being said (or read). What is the concept here?” (121)
Some concepts that Emma and I have gone over in the past few meetings include:
-The politics at a SLAM jam, including swearing and being a bad audience member. Sportsmanship is extremely important at slam jam’s.
-What some inappropriate slam topics might include. The practical idea behind this, is basically to always have an extra poem ready to perform, in case the judges are marking specifically hard on a certain topic.
-Page and stage
-Writing or performing, the great debate, and how we’ve decided they are about equal in importance.
“Without alternatives, we had rigidity, and complacency” (de Bono 136).
Emma has really given me the choice in this project. If I want to, I can write a deep poem that I’d like to hide in a dark hole, and never let anyone see, or a poem that is funny enough to crack the devil up (Although I’m still needing some work with funny poetry). But my point, is that she hasn’t given me criteria for any of my poems. She simply requests that I write a poem every two weeks, so that we have new material to go over. Part of this comes from her own experience. She remembers her grade 9 in-depth project and mentor, and thinks about how much work it was. Her mentor, Jacob, had a curriculum, and deadlines, and made in-depth feel more like school, than a passion or hobby.
When I brainstorm topics for future poems with Emma, we come up with a variety of ideas. I think that if I had a different mentor, I might not be as willing to put every idea forward; even the crazy ones, which sometimes turn out well.
Emma has also brought up many times, that she is learning from me as well. In other relationships, it seems like more of a teacher-student thing, but Emma makes me feel like we are equal. I obviously know that Emma is there to help me get better at my craft, but at the same time, I have helped her find topics for poems, and she has tested certain exercises with me, before doing them at workshops.
Emma has also given me the option to perform a sacrifice poem at hullabaloo… which might be a good way to celebrate in-depth…
This is my last required blog post for in-depth, but since there is still over a month left, I’m sure I’ll post again. So, see you soon!