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Pre-AP Strategies for "Oda a la alcachofa": A Vivid Experience with Hispanic Poetry
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by Leslie Ogden
Nordhoff High School
Ojai, California
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| | The following article depicts a teacher's experience of trying out a lesson for the first time, videotaping it, and using the video for reflection. All student names are pseudonyms.
The Set-up, with Artichokes
Our study of "Oda a la alcachofa" by Pablo Neruda entailed 12- to 15-minute elements during three days of instruction and culminated in a 25-minute segment on the fourth day. This took place in a third-year, high school Spanish class of 36 students, two-thirds native English speakers, one-third native Spanish speakers.
On Monday, to set the scene, I asked who could show us by quickly drawing, not translating, what an alcachofa was. We saw one very rough interpretation by our Italian-speaking boy of an artichoke, clear enough for those who knew the vegetable to understand the word. For those who still didn't know, I then revealed a pail full of artichokes -- stems, leaves, bugs, and all -- for students to touch, smell, and sketch.
This activity grabbed student attention, and they observed and drew with great care. An intense quiet fell over the room, with the exception of those groups who had small artichokes (los bebés) or even hormiguitas that prompted stories or running commentaries in Spanish. We cut off the head of one artichoke (gasps indicated that students, as had Neruda, found human qualities in the artichoke), and we examined the interior. This allowed us to understand Neruda's references to an armored exterior protecting a sweet, tender heart. We paused to identify examples from our own cultures. Answers ranged from President Bush to Spider-Man. Finally, students labeled the parts of their artichokes to give us all common vocabulary to talk about the relation between the vegetable and the character in the poem.
Finding New Vocabulary
On Monday, too, I read to the class the first verses of the poem that describe the artichoke in the garden. On their copy, students underlined key words that were new to them. I, or student volunteers, then paraphrased the new words in Spanish, adapting language to students' levels. Most students showed restraint in not blurting out or confirming in English and instead negotiated meaning in Spanish. In pairs, students then explained to a partner their understanding of the explanation, and I checked randomly for understanding by using shuffled 3 by 5 cards with student names.
This let students take control of their own learning, where possible, by identifying terms that they needed. It allowed students to confirm privately their understanding of the new vocabulary, often with someone whose skill level or cultural background was quite different from their own. Finally, the activity allowed me to both assess comprehension quickly and equitably and remind students that they were responsible for their learning. At home, students read and annotated a short selection in Spanish about Pablo Neruda's life and work.
On Tuesday, students took a brief quiz on relevant vocabulary and their background reading for the lesson. We corrected the quizzes immediately and moved on.
I read the whole poem to students on Tuesday. Because of the extensive vocabulary, most students understood very little of this first reading except that María buys and cooks our hero. Even so, many reading experts say it is helpful in making predictions along the way if students have an overview; they are able to fill in gaps in understanding if they know how it ends. We continued Tuesday and Wednesday as before with the vocabulary needed to fill those informational gaps.
We Start Cooking
To set the scene Thursday, I asked two volunteer cocineros to follow instructions for cooking artichokes. They and the class listened to the ustedes command forms that we had just studied being used in a real-life situation, spiraling language elements from one context through another. Following my instructions, our two cooks carefully prepared the artichokes and even negotiated an understanding of un poquito de sal. As I put the pot on my camp stove, another student volunteer agreed to tell the cooks when 20 minutes had passed. "Muy importante, Jennifer," quipped a voice from the class, and I agreed in Spanish that if we didn't eat, it was Jennifer's fault, to which several voices repeated the "Muy importante, Jennifer." This sense of anticipation grew as cooking smells filled the room. At the risk of being obvious, food is hugely important and interesting to people, especially youngsters who are growing rapidly. I hoped to take advantage of their heightened senses to improve students' ability to learn and process related information. In addition, many students, including all the heritage speakers, were unfamiliar with the vegetable. I felt that a tangible introduction was needed for all students to truly connect with Neruda's culinary pleasure at the poem's end.
Again in keeping with the knowledge that an overview of a difficult text helps one understand individual portions, I asked students to reprocess the text of the poem (recursive reading). Students reread it aloud in pairs, alternating readers at junctures I had marked. These segments each presented a single image or a series of related images. I wanted students to realize that this long, single-stanza work was a series of images that told a tale. I asked students what images they "saw," and I listed their observations for the class.
I then gave the whole class instructions for their main activity of the day, both orally and visually, using a pair of student volunteers as actors. The instructions were to talk together in Spanish only, using the dictionary at their table if necessary, about how to best visually represent their assigned segment. Students would present this drawing to the class. Students were also asked to present their segment of the poem by memory, since few exercises better help one to truly hear and understand a poet's words. I explained and showed the resources we had (large sheets of good quality paper, charcoal, colored pencils and pens), and I clarified that one student was to get materials according to the wishes of his or her tablemates. There is a great deal of personal choice implicit in all these instructions (organization of tasks, selection of materials, design layout) as I defer to student preferences and talents. Most students demonstrated their clear understanding of all of the instructions in this rather long series, but some groups did not realize that they were to memorize their segment.
Assessments from Start to Finish
I planned assessment points throughout the learning process. Early quizzes (oral and written) of relevant vocabulary and biography assured me students had the basic tools to proceed. Observation of student interaction with one another let me know they were interacting in the target language for these real-life tasks. Evaluation of student drawings made it clear that students understood their individual segments. Although I required that each pair memorize a segment (and I followed up with those who initially did not), I did not assign a grade to that portion of the activity due to the varying segment lengths.
As an extension activity, I provided the vocabulary needed for discussion of literary devices, and students wrote a take-home essay in Spanish concerning the content, tone, and literary devices of the poem. This let students show their ability to put the whole poem together and to connect information learned in English classes. Students also wrote, in the language of their choice, about cultural connections they had made and evaluations and recommendations they had for this miniunit.
Videotape Analysis
A videotape taken of this lesson (not available here) shows three activities: (1) partner conversation and drawing, (2) cooking and tasting, and (3) pair presentations to the class. It begins after students have selected their art supplies and have begun drawing. Connie (with marker in hand) and Audrey have designed a powerful image of a beefy artichoke with bombs exploding all around but with a sunny, yellow heart. Audrey, a quietly confident student, gives credit to Connie, who is more assertive. It is clear, however, that Audrey is an active participant with her "¿Qué más, Connie?" I circulate as the girls discuss their next steps. I talk with a group in the back and help our cooks decide if the artichokes are close to being done.
Students throughout the class are focused and on task. The smiles and banter as they work intently indicate both engagement and low affective filters. Laura and Francie (front left) learn their poem together as they draw. Snatches of simple conversation (una bomba, me gusta, la alcachofa, sí) and practice with the poem confirm my sense at the time that groups are using Spanish largely or entirely throughout the activity, even when I am not within earshot. This is an end we have long been working toward. Throughout the year I've used only Spanish with my classes, and I've requested the same from them. I recently set in place a number of structures that have led to a breakthrough for us in this arena, in particular a series of conversaciones libres. During these free conversations, I do not listen to the quality of their Spanish. I am only intent on the students being engaged in conversation in Spanish. Today's tape confirms that we've come a long way in this important area.
I ask how much more time students need (4 to 5 minutes) to give them appropriate control over timing and to alert them to the upcoming change of activities. I ask the class what artichokes are normally served with and receive appropriate answers (mantequilla, aceite de oliva). I do this both to review food vocabulary from last year and to let students for whom this is new know what to expect. As some students finish, they share their drawings with other tables. Therese brings hers to a table across the room; one of our cooks, Lillian, looks on at the back table while Joe and I melt the butter. Giving students this freedom of movement, as long as they use it wisely, increases the use of the target language by stimulating more conversation. It also supports the notion that this is their classroom and their collaborative community.
Hesitant About Unfamiliar Food
When it is finally time to taste, you see some confusion. I invite students from the south side of the room to try an artichoke. Laura and Francie think they understand but are not sure. Seeing no movement, I think they are reluctant to try the new dish. I teasingly call them cowards and invite the center section to taste. Penelope understands completely and leads the way. With that, Laura and Francie follow.
It takes several minutes to get this large group through a taste test. Reactions are largely favorable, both in response to my asking and in small talk at the tables. Penelope points out that they could have cooked a bit longer. On his own initiative, Richard records the event with his new digital camera. He later gives me a set to display in class.
As I ask that we begin presentations. Therese is obviously eager to go. I prefer to follow the order of the poem, however, to give a better sense of its flow. We will not linger on these presentations; I want quick pacing for a light tone and an attentive audience. To produce their best work and present with confidence, students need low filters but high levels of alertness. Later students will have an opportunity in their homework to verbalize the depth of their understanding. These presentations allow the class to hear the poem again and to link the words to these charming visual interpretations. They let students demonstrate both learned and spontaneous speech. These brief presentations allow the viewer to appreciate the range of language levels represented in class and the respect with which all youngsters are treated.
The first two speakers are entirely successful with this activity. Audrey has risen to the challenge of memorizing a sizeable section of this poem. Connie defends her drawing admirably. She stumbles over a new word, guerrero (I think she is looking for Guerra because of the bombs exploding in her illustration), and makes some language errors (la corazón, es aquí), but she certainly adequately conveys her complex image of a warrior covered by scales that protect a kind heart. She notes later that she knows people like this. I take the opportunity to address such connections with the whole class. I want students to appreciate how similar the basic human emotions and desires are that get expressed in such varied ways in different cultures.
Reactions to Drawings
The drawing by Joe and Lillian draws giggles because it is charming: a carrot with a huge moustache. Joe presents well but does not realize he was to memorize the text. I regret not asking Lillian to speak first. Her language skills are weaker than Joe's, who is a heritage speaker, and he could easily have filled in details she left out. The reverse was not possible.
The third presenters are not able to put their understanding into words, but Martha and Dana have shown understanding of the text through their drawing, some rather plump, girlish cabbages with floppy skirts. When I ask if this is a normal cabbage, Martha answers with a no that means "Of course not, silly!" She cites the text's "probarse la falda" as evidence.
Sean and Alfredo exhibit very different language skills. Here I ask the weaker speaker to go first. Sean has learned his short section but elicits a friendly laugh from the class with his two-word explanation of their drawing. He is not able to explain the word perfumar, but Alfredo does so quite gracefully. Their work together has been adequate but reserved. I will soon try a competitive activity to enliven the interaction between them and enhance the language and cultural opportunities made possible by their pairing.
Various Combinations of Skill Levels
In contrast, the three girls at the back table worked extremely well together on their drawing. I enjoy the interplay between Benita, a freshman heritage speaker and a very serious AVID student, with Bobbie and Martha, both juniors with strong academic skills. These three took full advantage of the cultural and linguistic diversity their group provided. Benita took the lead in interpreting their section, Martha (the presenter) memorized the selection, and Bobbie encouraged the other girls to try the new dish. I wish I'd asked one of the girls to explain their interpretation of the word Granada. My guess is that they would have mentioned both the fruit and the small bomb that underlie Neruda's play on words.
The pairing of Robert and Penelope (center table) was especially deliberate. Both are very capable students, yet a few months ago Robert had been suspended from school. His father has been tireless in his efforts to keep him in school, and Robert has worked hard to dig himself out of a hole. I'm supporting the process with weekly progress reports and steady encouragement. I intentionally placed Robert with a demanding partner. It was a pleasure to see him contribute as an equal with Penelope, a very talented and assertive young woman. Both Robert's drawing and his explanation are graceful complements to the selection Penelope recites so well. The girls near him clearly are interested in his work, just the kind of earned success this young man needs now.
Another interesting pairing is that of Denise, a very, very shy junior, and Julio César, an even shier freshman and a newcomer from Mexico. (Julio César is one of a few students who meet with me after school three days a week to catch up academically.) Although Denise tells us they have not finished, Julio César agrees they can present now and finish the drawing later. He is extremely meticulous in all his work and has been working nonstop on this illustration since the activity began. Denise recites her selection, and I comment positively about Julio César's drawing, but once in front of the class, he is simply too shy to speak. Through their exposure in this class, these two young people truly have to negotiate differences in culture, language, sex, and age every day. I know it takes all their courage and goodwill to overcome their shyness and to work as effective partners. It may help that Denise is a couple of years older and that I asked that she make sure Julio César understood class procedures.
Ninja Turtles, Too
Chris is at the front table for a reason. He really struggles with Spanish. Chris has clearly been engaged by today's activity. He has not memorized the segment, indeed he can scarcely pronounce it, yet the class listens respectfully. His smile and snappy salute tell me that, with his partner's support, he has understood and enjoyed this segment of the poem. Their Ninja-turtle-style warrior artichoke is a perfect illustration of our little macho vegetable. It draws very positive reactions from the class, and both boys return to their seats beaming. We later explore reasons why the Ninja turtle was such an appropriate representation, and students "explain" -- through role play -- how these cultural icons relate to Neruda's poem (as tough guys with good hearts).
The last pair (Martin, an academically talented sophomore, and Anne, a quiet, good-natured senior who struggles with Spanish) ends this video selection with another encouraging laugh from the class. The class warmly acknowledges their lively image of a box of exploding artichokes/grenades. Their representation is both accurate and imaginative, and Anne is delighted by her classmates' acknowledgment.
After this video selection, we complete the remaining four presentations, finish off the artichokes, and put the drawings up around the room. The next class day, as culminating activities, we enjoy a walk through our new "Museo de la alcachofa," comparing interpretations by various artists from different classes. We then share analyses as a class and make a final comparison between Neruda's poem and Mexican and American cultural expressions of the same theme. Students conclude by writing, for me, comments and recommendations regarding this series of instructions.
Reflection
This series of activities pleased us all. Students wrote that it was one of their favorite activities this year. Yet, like many first tries, there is room for improvement.
Among those areas needing improvement are pacing and clarity of expectations. Brisk pacing is essential to effective and enjoyable world language instruction, yet on Tuesday and Wednesday our pace slowed with vocabulary. Glossing some of the vocabulary in Spanish, as opposed to explaining all of it orally, may be the answer. Also, logistically, I needed to use more artichokes and more space to quickly accommodate interested tasters on Thursday.
Improved clarity of expectations is, I believe, a question of shorter, incremental instructions. Next time, I will first let students collaborate on the meaning of their text and the layout and design of their drawing. Then I will let them know they need to memorize their lines. I think this will make the steps of the process more apparent and let students concentrate on one thing at a time. They will then naturally share each task.
Working with the National Standards
That said, this lesson offers much. It fits the model of "sturdy fabric of many strands" alluded to in the national Standards for Foreign Language Learning. Students worked conscientiously in interpretative, interpersonal, and presentational modes. Their senses were engaged, and they learned Spanish actively as they cooked, wrote, drew, followed instructions, chatted, negotiated, made cultural comparisons, listened, and presented. They broadened their cultural, culinary, lexical, and literary experience bases. The learning environment was purposeful but relaxed. Low affective filters encouraged easy conversational interchange and thus easy communication among cultural groups.
Expectations for students were high (the poem had not been abridged or modified for learners), and students rose to meet them. Their drawings were imaginative yet accurate representations of their reading, and many of the oral presentations, though short, showed an ability to articulate the vision of the artist. Students worked entirely, or nearly so, in the target language. I value the use of the target language during class time, and we had set the stage for meaningful communication in Spanish through months of hard work on this issue.
The nature of the activities allowed for creativity and open-ended use of language. Some students presented in paragraphs; others simply listed elements of their illustration. This open-ended quality is vital to inclusive instruction in classes such as this one where there is a wide range of language levels. Without it, one end of the talent spectrum is always frustrated.
Fruitful for Both Native and Nonnative Speakers
Such open-ended language activities are impossible unless students have learned to value diversity. These students and I have worked hard to promote an inclusive atmosphere throughout the year. It allows shy students to feel comfortable going before their peers. A positive, inclusive atmosphere also encourages learners to keep at the language learning to attain true proficiency. Most of these students have registered for Spanish 4AP for next year.
Both native and nonnative speakers gained an expanded view of Hispanic culture by reading and understanding a work by a world-renowned poet far from their shores and by learning a little about his life. Their art tells me that they "got it," that they understood this poignant poem about an ever-so-manly vegetable with aspirations of being a great warrior. His facade, bravado, and big plans for himself resonated with them, perhaps all the more so as we were on the brink of war ourselves. They knew people like the protagonist, and they compared elements of their own culture with aspects of Neruda's. Students embraced the poem and, through their art, made it their own.
The artistic element also allowed genuine interaction among partners as they decided how to represent their section. Because their language recognition levels are so much higher than their verbal production levels, art gave students a way to express understanding that their language could not. Similarly, this lesson offered me alternate means of assessing students' language understanding and growth. I could see what they understood, even if they had difficulty spontaneously expressing their interpretation in words. Later, in their final assessment, I had the pleasure of reading some of the best writing I'd seen all year. In their at-home analyses, they easily transferred their experience and skills from English classes, making the connections between disciplines so valued in the national standards.
My immediate instructional goals were met. Students found personal meaning in this delightful product of the greater Hispanic culture. They made compelling connections between cultures. They interpreted, negotiated, and expressed themselves admirably in Spanish. Additionally, we took pleasure in one another's company and in our diverse talents.
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