Japanese Haiku and Haiga: A One Week Unit Plan

By: John Keveanos

Norte Vista High School

Riverside, California

Monday: Day 1

Lesson:

An Introduction to Japanese Haiku Poetry; the Rules of Haiku.

Theme of the Lesson:

Introduce the Japanese Haiku poem and the rules that define the art form.

California State Standards:

Reading 2.2 - Analyze the way in which clarity of meaning is affected by the patterns of organization, hierarchical structures, repletion of the main ideas, syntax, and word choice in the text. Literary Response and Analysis 3.1 - Analyze the characteristics of subgenres (e.g., satire, parody, allegory, pastoral) that are used in poetry, prose, plays, novels, short stories, essays, and other basic genres. Literary Response and Analysis 3.2 - Analyze the way in which the theme or meaning of a selection represents a view comment on life, using textual evidence to support the claim. Literary Response and Analysis 3.3 - Analyze the ways in which irony, tone, mood, the author's style, and the "sound" of language achieve specific rhetorical or aesthetic purposes or both Literary Response and Analysis 3.3 - Analyze the ways in which poets use imagery, personification, figures of speech, and sounds to evoke readers' emotions.

ELD Standard:

Listening and Speaking Cluster 2: Listen attentively to the stories and information and identify important details and concepts by using verbal and nonverbal reponses.

Objectives:

By the end of this lesson, the student will...

identify a Japanese Haiku poem.
recognize the various rules of traditional Haiku poetry
analyze and differentiate the elements of Haiku poetry

Materials:

"Traditional Japanese Kabuki Music": A collection from numerous sources; Photographs taken from the "Okunohoshimiche" Tour 2009; Writing and Enjoying Haiku: A Hands-On Guide by Jane Reichhold (Kodansha International Ltd., Tokyo, Japan, 2002.) The students will receive a handout that will provide them with "Six Basic Rules of Haiku" found on pages 49-52. Also, "A Checklist for Revising Haiku" and "Believe It or Not- More Rules" found on Pages 73-39. The Language of Literature: World Literature (McDougal Littell, Evanston. IL, 2002). - The students will be examining Haiku poetry on pages 541-549 of the textbook.

Prior Knowledge:

By the time we reach this unit on Haiku poetry, the students will have spent two weeks examining Ancient Japanese Literature. They will have read and analyzed short selections from The Pillow Book (Sei Shonagon); The Tale of Genji (Lady Murasaki Shikibu); Zen Teachings and Parables (Muso soseki); The Deserted Crone (a Noh Drama by Zeami Motokiyo) and an assortment of Tanka Poetry (Ono Komachi, Lady Ise, Ki Tsurayuki, and Saigyo). On the Friday before this unit this students were given the handouts on Haiku poetry rules taken from the Reichhold text and asked to read and study them.

Anticipatory Set:

As the students enter the classroom, they will hear the sounds of "Traditional Japanese Kabuki Music" being played. They will see assorted photographs of the natural beauty of Japan that the teacher took on the Okunohoshimichi Study Tour 2009.

Introductory Activity: A KWL Graphic Organizer: What do you know about Japan, Japanese, Culture, and Japanese Poetry?

Lesson Body:

What the teacher does:

The teacher allows the students ten minutes to listen to the music; view images of rural Japan; and jot down their ideas about Japan, its culture and poetry. The teacher will then ask the students to share the ideas aloud.

What the student does:

The students share their knowledge of Japan, Japanese Culture, and Japanese Poetry.

What the teacher does:

Then, the teacher directs the students attention to the photos projecten on the screen by the LCS. The teacher describes how Japan is a virtual garden and the importance of the preservation of nature to the Japanese. The teacher informs the students that Japanese Haiku Poetry is a literary expression of their love of nature; that is the central subject of the art form. The teacher explains how the haiku poet seeks to discover a "Haiku Moment" which is an inspiration from an observation of nature. (Also known as an "Ah-ha" moment.) The teacher asks the students to take out their Haiku Handout and take a few moments to review Reichhold's Haiku rules starting with the six that the author has identified as the most important: "1. Write in three lines that are short, long, short without counting syllables.; 2. Make sure the haiku has a fragment and a phrase.; 3. Have some element of nature.; 4. Use words in the present tense.; 5. Avoid capital letters or punctuation.; 6. Avoid rhymes." (Note: The teacher should stress that a traditional haiku poem contains seventeen syllables that are distributed over three lines of verse: five in the first and third lines with seven in line two. Also that the author's reference to an "element of nature" comes in the form of a seasonal word or "Kigo").

What the teacher does:

The teacher presents the students (on the LCS or the whiteboard) with five Haiku poems for analysis: The teacher also encourages the students to take out a piece of paper so that they can take Cornell Notes during their analysis of Haiku poetry.

after morning snow

onion shoots rise in the garden

like little signposts

-Matsuo Basho

The teacher then leads the students in an analysis both the form of the Haiku poem.

What the student does:

The student analyzes the poem using the handout. Responses may include: "The syllables are wrong" (The teacher may point out that this poem had been translated from Japanese and the translation may not be able to recreate the rule regarding syllables without ruining the poet's intent). "'Spring' is the Kigo" (Actually, "withered" and "warm" are also Kigo words). "The poem is in the present tense". (The teacher agrees). "There is a phrases and a fragment" (The fragment is line one). The students also agrees that: "There are no capital letters"; "There is only one article - 'the' garden"; "There is no mention of humanity". (Not in a classic, traditional Haiku, the teacher points out.)

What the teacher does:

The teacher asks the students about hte content of the poem: "What do you think is the theme of the poem?" (The students decide that it is about the changing seasons). "Is this a proper subject for a Haiku?", the teacher asks. (The students agree it is due to its consideration of nature.) The teacher then asks them to one again review their handout to see how well the Haiku lives up to the rules of a traditional Haiku.

What the student does:

The students may make observations regarding whether or not the poem..." ...is about ordinary things (written) in an ordinary way using ordinary language:". (It is); "Eliminates all the possible uses of gerunds ("ing" endings on verbs). (It does not); "Attempt to have levels of meaning in the haiku. On the surface it is a set of simple images; underneath, a philosophy or lesson of life". (It deals with the passage of time which was a major theme of the previously studies Tanka Poetry).

What the teacher does:

The teacher presents a new Haiku poem:

white blossoms of the pear

and a woman in moonlight

reading a letter

-Yosa Buson

The teacher then asks them to once again review their handout to see how well the Haiku lives up to the rules of a traditional Haiku.

What the student does:

The students go about their analysis of both form and content. Comments may include: "Again, the syllables are wrong". (A problem of translation). "The word 'and' in line two ruins the fragment and phase" (Perhaps this is also an imperfection of the translation). "'Blossoms' is the Kigo". (Yes, a Spring word). "A human is depicted in this poem" (Yes, this is a rule that is frequently broken by authentic Haiku poets and seems to create a subgenre of Haiku poetry).

What the teacher does:

The teacher presents a new Haiku poem:

The pheasant cries

as if it has just noticed

the mountain.

-Kobayashi Issa

What the teacher does:

The teacher then asks them to once again review their handout to see how well the Haiku lives up to the rules of a traditional Haiku.

What the student does:

Again the students point out how the poem is not using symbols properly; lack a phrase and fragment; uses punctuation and a capital letter; and seems to lack a Kigo. (The teacher gets a chance to reiterate the problems of translation from Japanese to English; the capricious disregard of the assumed "rules" that many poets employ in their Hiakus; and that "pheasant" and "mountain" could be seasonal word for Autumn).

Lesson Conclusion/ Re-teaching:

What the teacher does:

The teacher asks the students to use their Cornell Notes in order to extend their knowledge of information about Japan, its culture and its Haiku poetry to the KWL Graphic Organizer that they started at the beginning of the period.

What the student does:

The students apply their Cornell Notes to their KWL Graphic Organizer.

Homework/ Reinforcement:

What the teacher does:

The teacher assigns the students to write two Haiku poems that adhere to the guidelines that Jane Reichhold has suggested. Reiterate that all Haiku poetry does not necessarily have to conform to all these rules (as we saw quite often in this lesson) but let us start by seeing how close we can come to pure Haiku poetry.

Tuesday: Day 2

Lesson:

Experiencing ginko - an inspiration walk around campus in order to collect ideas to improve the students' Haiku poetry skills; Peer editing of student Haiku poems.

Theme of the Lesson:

Finding "Haiku Moments" for the creation of poetry and taking a closer look at nature in order to improve the students' use of imagery.

California State Standards:

Literary Response and Analysis 3.4 - Analyze ways in which poet's use imagery, personification, figures of speech, and sounds to evoke readers emotions. Writing Strategies 1.5 - Use language in natural, fresh, and vivid ways to establish a specific tone. Research and Technology 1.6 - Develop presentations by using clear research questions and creative critical research strategies (e.g., field studies, oral histories, interviews, experiments, electronic sources).

ELD Standards:

Writing Strategies and Applications Cluster 1 ES: Write responses to selected literature that exhibits an understand of the text, using detailed (Note: Here this will applied to a peer editing exercise).

Objectives:

By the end of this lesson, the student will...

describe nature using imagery with greater eloquence.
apply this imagery to the creation of Haiku poetry.
critique and peer edit their Haiku poetry homework.

Materials:

New selections from the teacher's "Traditional Japanese Kabuki Music" CD. A trio of miniature Banzai Trees. Assorted photographs of the natural beauty of Japan that the teacher took on the Okunohoshimichi Study Tour 2009.

Prior Knowledge:

What the students have learned from the handout; yesterday's critique of haiku poetry; their attempt to write two traditional Haikus and homework.

Anticipatory Set:

As the students enter the classroom, they will hear the sounds of "Traditional Japanese Kabuki Music" being played. They will see assorted photographs of the Okunhosimichi Hiking Trail in the Naruko area. This breathtaking nature walk over hill and dale was part of Matsuo Basho's original trek. The trio of potted miniature Bonsai Trees are placed prominently on a table before the LCS projection screen.

Lesson Body:

What the teacher does:

The teacher introduces the students to the Japanese concept of "Ginko" - a nature walk intended to inspire the creation of Haiku poetry. The teacher (in this case, me) talks about where the incredible photos were taken: on a Ginko-like hike through the Japan's northern interior, near Naruko. The teacher will explain that Haiku poet Matsuo Basho had walked this path 320 years ago. The teacher will state that Basho, (whom we will study in greater depth tomorrow) seemed to make all of scenic Japan a "Ginko". The teacher then tells the students that they will today go on a "Ginko" by strolling around the campus of our high school. The teacher asks the students to get a notebook so they can jot down ideas.

What the student does:

The students grab a notebook and a pen and assemble outside the classroom.

What the teacher does:

The teacher explains that although Norte Vista High School in Riverside, California may not be the Garden of Eden, it still provides us with some glimpses of natural beauty. The teacher reiterates that the purpose of the walk is to discovery and describe images of natural beauty. Examples should include floral, foul, insects, weather, sounds and aromas. Anything that will create greater imagery in your Haiku. Then, the teacher leads the student on a stroll around campus, wishing them well in their quest for “Haiku Moments”.

What the student does:

The student will find numerous “Haiku Moments” (even at Norte Vista High School). The albatross birds that swarm around and squawk near the Performing Arts Center; the Ivy-covered walls with its changing leaves; the majestic, snow- capped mountains seen from the Quad which gives the school its name.

What the teacher does:

The teacher encourages the students to point out their observations and to avoid using clichéd adjectives or trite descriptions. For instance, that is not just a tree: What kind of a tree is it? Or, the bird is singing, but what would be a more precise word to let the reader hear the sound?

What the teacher does:

The teacher leads the students back to class. Once back inside the classroom, the teacher points out the potted miniature Bonzai Trees which also feature little ceramic figurines of poets, workers and herons and other birds. These are meant for people to find serenity and inspiration anywhere. The teacher asks the students to write a sentence that describes the scene in one of the Bonzai pots, perhaps employing some of the descriptive language found on the Ginko.

What the student does: The students write their descriptions.

Conclusion/ Re-teaching:

What the teacher does:

The teacher asks that some of the students read their work aloud before it is collected. (A few students do).Then the teacher asks the students to take out the two Haiku poems that they had written as homework. The teacher asks the students to split into pairs to analyze and critique each others poems. Is the poem faithful to the rules of traditional Haiku? But now, after our Ginko, how might the poem be improved? How could it be made more vivid? The teacher gives the students the rest of the period to make changes before they are required to turn in their work.

What the student does:

The students work in pairs peer editing their poems to be turned in at the end of the period.

Homework/ Reinforcement:

What the teacher does:

The teacher assigns the students two new Haiku poems that must employ at least two examples of imagery. One of the poems must conform to Reichhold’s rules. The other may take liberties (e.g., a human presence, a syllable out of place, etc.)

What the student does:

The students write down the assignment and turn in their peer edited and rewritten poems before going to their next class.

Wednesday: Day 3

Lesson:

Poems by Matsuo Basho; Introduction to Haiga.

Theme of the Lesson:

An introduction to Haiku’s most revered poet and to a subgenre of Haiku that merges art illustration and poetry.

California State Standards:

Literary Response and Analysis 3.2- Analyze the way in which the theme or meaning of a selection represents a view or comment on life, using textual evidence to support the claim. Response and Analysis 3.3- Analyze the ways in which irony, tone, mood, the author’s style, and the “sound” of language achieve specific rhetorical or aesthetic purposes or both. Writing Application 2.1- Write fictional, autobiographical, or biographical narratives... c. Make effective use of descriptions of appearance, images, shifting perspectives, and sensory details. (Note: There are no California Standards that require students to write poetry, but I feel this one comes the closest to Haiku).

ELD Standards:

Listening and Speaking Cluster 2: Listen attentively to the stories and information and identify important details and concepts by using verbal and nonverbal responses. Listening and Speaking Cluster 8: Respond to messages by asking questions, challenging statements, or offering examples that affirm the messages. Cluster 9 Prepare and deliver short oral presentations.

Objectives:

By the end of this lesson, the student will...

...recognize the contribution of Matsuo Basho to the art of Haiku poetry. ...appraise and critique some of Basho’s poems. ...write and illustrate Haiga poetry.

Materials:

An assortment of different recordings of the Japanese classic “Cherry Blossoms”; Assorted photographs of the natural beauty of Japan that the teacher took on the Okunohoshimichi Study Tour 2009, especially all the different statues of Basho that are found all along the route of the Okunohosimichi trail; white typing paper; a box of art supplies that includes crayons, markers, and colored pencils and pens.

Prior Knowledge:

What the students continue to learn from the handout; yesterday’s Ginko and peer edit of their Haikus.

Anticipatory Set:

As the students enter the classroom, they will hear the sounds of the Japanese musical class, “Cherry Blossom” , played on different instruments with different interpretations. They will see assorted photographs of the natural beauty of Japan that the teacher took on the Okunohoshimichi Study Tour 2009, especially all the different statues of Basho that are found all along the route of the Okunohosimichi trail; A handout on the life of Matsuo Basho found on Wikipedia. The Language of Literature: World Literature (McDougal

Littell), Evanston. IL, 2002).-The students will be examining Basho’s Haiku poetry on pages 542 of the textbook

Introductory Activity:

The students read over the handout about the life of Matsuo Basho.

Lesson Body:

What the teacher does:

The teacher reinforces the handout information by talking about the Okunohosimichi Study Tour of Japan 2009. I, in this case, would stress the importance of Basho’s art and legacy and how the Japanese people and Press reacted to our endeavors. The teacher would then ask the students to open their McDougal Littell The Language of Literature: World Literature textbooks to page 542: Matsuo Basho Poems- Translated by Sam Hamill. The teacher then refers to three of Basho’s poems that have been written on the white board and selects three pairs of students to come up and critique the poem applying the Reichhold rules as well as making their own analysis of the poem. The teacher then leads the class in a reading of the three poems. They are:

Pitifully- under a great soldier’s empty helmet, a cricket sings

Withered winter grass- waves of warm spring air shimmering just above

Sick on my journey, only my dreams will wander these desolate moors

What the student does:

The students study the poems while those selected to critique the poems come to the whiteboard and begin to circle words and underline phrases; identifying the Kigo; and writing down other observations in a visual diagram of their critique.

What the teacher does:

The teacher asks the first pair of students to present their critique of the poem to the class.

What the student does:

The students might start with a formal critique (e.g., the poem is close to the proper syllable count; identification of fragment and phrase; Kigo; present tense; the translator’s use of a capital letter and a hyphen).

What the teacher does:

The teacher asks the students to discuss if they think these liberties are helpful to the translation.

What the student does:

The students’ answers to this question might lead to some consensus on how closely a poet must stick to Reichhold’s guidelines. The students at the white board continue their critique by discussing the poem’s content. They may point out that the Haiku (as Reichhold suggests) “(a)ttempts to have levels of meaning...On the surface it is a set of simple images; underneath a philosophy or lesson of life” (Reichhold, p.77) They might regard the poem as a profound statement regarding the futility of war. Reichhold states (on page 76) that the Haiku should “(s)ave the ‘punch’ for the end line”. The singing cricket serves this purpose. They might call attention to Reichhold’s suggestion that the Haiku “(u)se only images from nature with no mention of humanity”. Yet this Haiku makes a statement about humanity without the direct presence of an individual human.

(Note: The process of students critiquing the next to poems follow a similar pattern to the one previously described).

What the teacher does:

The teacher might make reference to the third poem, sometimes called Basho’s “Death Poem” and its relevance considering that Basho would himself die a short time later, at 46.

The Rest of the Lesson Body:

What the teacher does:

The teacher provides a definition of Haiga as a Haiku that is accompanied by art work which complements the Haiku. Reichhold describes a Haiga as “(i)llustrations that break up the reader’s headlong rush for the next haiku”. The teacher asks the students to choose a partner (but not the same one from the peer editing session yesterday). The teacher then tells them that their task will be to write an illustrate two Haiga poems- one traditional that follows Reichhold’s

rules and one more freeform. The teacher then makes the art supplies available to the students and asks them to begin working.

What the student does:

The students work on creating two Haiku and begin to create illustrations that will illustrate them.

What the teacher does:

Perhaps the teacher will play soft Japanese music to underscore the students’ endeavor. Also, the teacher will walk around the classroom providing suggestions, answering questions, and making sure that all the students are on task.

Conclusion/ Re-teaching:

The Haiga-making task at hand provides the students with reinforcement of all lessons learned in the unit thus far.

Homework/ Reinforcement:

What the teacher does:

The teacher tells the students that they need to continue to work on their Haigas. They will be presented to the class on Friday as part of a Gallery Walk Exhibition.

What the student does:

The students assign each other tasks regarding the Haiga project. Then, they return the art supplies and prepare to leave.

Thursday: Day 4

Lesson:

Poems by Yosa Buson; Creating Haiga poetry.

Theme of the Lesson:

An introduction to one of Haiku’s most revered poet and a dynamic lesson in merging illustration and poetry.

California State Standards:

ELD Standards:

Objectives:

By the end of this lesson, the student will...

...recognize the contribution of Yusa Buson to the art of Haiku poetry. ...appraise and critique some of Buson’s poems. ...write and illustrate Haiga poetry.

Materials:

A compilation CD of famous Japanese Pop Hits entitled “Japan- The Greatest Hits Ever”.; Assorted photographs of the natural beauty of Japan that the teacher took on the Okunohoshimichi Study Tour 2009; white typing paper; a box of art supplies that includes crayons, markers, and colored pencils and pens; Bamboo place mats to be used as a matting for the Haigas; String to hang the Haigas; A handout on the life of Yusa Buson found on Wikapedia; The Language of Literature: World Literature (McDougal Littell, Evanston. IL, 2002).-The students will be examining Buson’s Haiku poetry on page 544 of the textbook.

Prior Knowledge:

What the students continue to learn from the handout; yesterday’s experience reading Basho’s poetry and creating Haiga.

Anticipatory Set:

As the students enter the classroom, they will hear the sounds of the Japanese Pop Hits from the compilation CD entitled “Japan- The Greatest Hits”. They will see assorted photographs of the natural beauty of Japan that the teacher took on the Okunohoshimichi Study Tour 2009, especially the different monuments upon which Basho’s poetry is inscribed, which stresses the importance of Haiku poetry to the Japanese people; A handout on the life of Yusa Buson found on Wikipedia.

Introductory Activity:

The students read over the handout about the life of Yusa Buson.

Lesson Body:

What the teacher does:

The teacher should stress the importance of Buson’s art and legacy. The teacher then asks the students to open their The Language of Literature: World Literature (McDougal Littell) textbooks to page 543: Yusa Buson Poems- Translated by Robert Haas. The teacher then refers to three of Buson’s poems that have been written on the white board and selects three pairs of students to come up and critique the poem applying the Reichhold rules as well as making their own analysis of the poem. The teacher then leads the class in a reading of the three poems.

They are:

Coolness- the sound of the bell as it leaves the bell

The old man cutting barley- bent like a sickle

It cried three times, the deer, then silence

What the student does:

The students study the poems while those selected to critique the poems come to the whiteboard and begin to circle words and underline phrases; identifying the Kigo, etc.; and writing down other observations in a visual diagram of their critique.

What the teacher does:

The teacher asks the first pair of students to present their critique of the poem to the class.

What the student does:

Note:

The rest of this part of the Lesson Body analyses the Haiku poems as explained in the lesson plans described on Days 1 and 3.

The Rest of the Lesson Body:

What the teacher does:

The teacher then makes the art supplies available to the students and asks them to take out their Haiga projects and continue working.

What the student does:

The students work on finishing their two haikus and the creation of illustrations that will adorn them.

What the teacher does:

Perhaps the teacher will play soft Japanese music to underscore the students endeavor. Also, the teacher will walk around the classroom providing suggestions, answering questions, commenting on their work, and making sure that all the students are on task. The teacher provides the students with bamboo place mats, paste, tape, string, tacks, and everything else the students will need to matte their work and hang it on the walls of the classroom.

Conclusion/ Re-teaching:

The haiga-making task at hand and the hanging of their work, provides the students with reinforcement of all lessons learned in the unit thus far.

Homework/ Reinforcement:

What the teacher does:

The teacher advises the students that they need to copy their work and prepare to present their poem aloud. They will be presented to the class tomorrow as part of a Gallery Walk Exhibition.

What the student does:

The students copy their work. (Each student is to present one of their poems). The student arrange with their partners who will present which poem then prepare to leave.

Friday: Day 5

Lesson:

Poems by Kobayashi Issa; Introduction to Haiga Gallery Walk and Presentations.

Theme of the Lesson:

An introduction to another of Haiku’s most revered poet and poetry presentations and Gallery Walk.

California State Standards:

ELD Standards:

Listening and Speaking Cluster 3: Speak clearly and comprehensively by using standard English grammatical forms, sounds, intonation, pitch, and modulation.: Reading Fluency and Systematic Vocabulary Development Cluster 7: Read aloud with appropriate pacing, intonation, and expression increasingly complex narrative and expository texts.; Reading Comprehension Cluster 2: Orally identify the features of simple excerpts of public documents by using key words or phrases.; Writing Strategies and Applications Cluster 1 ES: Write responses to selected literature that exhibit understanding of the text, using detailed sentences and transitions. Listening and Speaking Cluster 9: Prepare and deliver short oral presentations.

Objectives:

By the end of this lesson, the student will...

...recognize the contribution of Kobayashi Issa to the art of Haiku poetry. ...appraise and critique some of Issa’s poems. ...describe and recite Haiga poetry.

Materials:

An assortment of different recordings of the Japanese classics both modern and traditional; The Language of Literature: World Literature (McDougal Littell, Evanston. IL, 2002).-The students will be examining Issa’s Haiku poetry on page 544 of the textbook; A handout on the life of Kobayashi Issa found on Wikipedia. The Language of Literature: World Literature (McDougal Littell, Evanston. IL, 2002).-The students will be examining Issa’s Haiku poetry on page 544 of the textbook.

Prior Knowledge:

What the students continue to learn from the handout and all other activities this week.

Anticipatory Set:

As the students enter the classroom, they will hear the sounds of the Japanese music- traditional and modern selections. They are encouraged to examine all their Haigas that grace the walls of the classroom. Also, the teacher distributes a copy of the Wikipedia piece on Kobayashi Issa and encourages them to read it.

Introductory Activity:

The students read over the handout about the life of Kobayasi Issa.

Lesson Body:

What the teacher does:

The teacher should stress the importance of Issa’s art and legacy and his contribution to the art of Haiku . The teacher then asks the students to open their The Language of Literature: World Literature: (McDougal Littell) textbooks to page 544: Kobayasi Issa Poems- Translated by Robert Haas. The teacher then refers to three of Issa’s poems that have been written on the white board and selects three pairs of students to come up and critique the poem applying the Reichhold rules as well as making their own analysis of the poem. The teacher then leads the class in a reading of the three poems.

They are:

A huge frog and I, staring at each other, neither of us moves.

Asked how old he was, the boy in the new kimono stretched out all five fingers.

In a dream my daughter lifts a melon to her soft cheek.

What the student does:

What the teacher does:

The teacher asks the first pair of students to present their critique of the poem to the class.

What the student does:

Note:

The rest of this part of the Lesson Body analyses the Haiku poems as explained in the lesson plans described on Days 1 and 3.

The Rest of the Lesson Body:

What the teacher does:

The teacher then directs half of the pairs of students to stand by their pair of Haiga while the other half in small groups will do a Gallery Walk. The presenters will recite their poems and comment on their meaning and inspiration, etc. The Gallery walkers must make notes on what they believe to be the most perfect Haiga and explain why.

What the student does:

The first group of presenters and Gallery Walkers begin.

What the teacher does:

Perhaps the teacher will play soft Japanese music to underscore the students endeavor. Also, the teacher will walk around the classroom observing the quality of the students Oral Presentations. and making sure that all the students are on task.

What the teacher does:

After the first group of presenters has displayed their Haiga, then the teacher will ask the students to change places and the presenters will now become Gallery Walkers and the Gallery Walkers now become presenters.

Conclusion/ Re-teaching:

What the teacher does:

Asks the students to finish choosing what they felt were the best haiga and why.

What the student does:

The students go over their notes and make their selections and why their thought their choices of top haiga were superior.

Homework/ Reinforcement:

What the teacher does:

The teacher congratulates the student on a unit well done and assigns no homework.

A Note on Unit Assessment:

There are a number of ways that assessment was used. The three most important criteria that I, as the teacher, would use.

They are:

Effort- A strong engagement with the lesson.

Creativity- The joy of participation and/ or and outlet of personal expression.

Excellence- A striving and achievement of a mastery in understanding and recreation of the art form. Of course, the poetic assignments and Oral Presentations are great factors in grading. Included is a test that covers the entire Japanese Unit that I administer>

World Literature: English IV Unit
Test 3: Capturing the Moment Ancient Japanese Literature
Mr. Keveanos, Room 602

Name:____________________________ Period:_____

1. Japanese Literature truly began with the invention of Kana, a writing system based on Chinese characters. This occurred sometime between 784-1185, during the reign of which imperial dynasty:

A) Heian B) Kamakura C) Ashikaga D) Tokugawa

2. Sei Shonagon wrote “The Pillow Book” which is considered the first example of Japanese Literature. The book describes imperial court life and its genre is that of a:

A) Novel B) Diary C) Novella D) Collection of Short Stories.

3. “Lists” are among the many selections that Sei includes in the book. Which is NOT one of the “Lists” she includes:

A) Embarrassing Things B) Hateful Things C) Humorous Things D) Graceful Things

4. The book is entitled “The Pillow Box” because they were private thoughts that were written in the bedroom and stashed away in the drawers of the wooden pillows on which the nobility slept.

(Circle one) True False

5. “Zen Teachings and Parables” are writings meant to illustrate the teachings of which religion:

A) Confucianism B) Buddhism C) Hinduism D) Taoism

6. “Zen Teachings and Parables” are a form of what type of writing. ___________________________________________________

7. Zen Masters and their disciples aspire to achieve a state of spiritual enlightenment known as:

___________________________________________________

8. In “Contamination of Virtue”, Muso Soseki describes the virtue of doing good for the sake of good, not to do good to seek a reward. He writes: “Contamination and Noncontamination refer to the state of mind of the doer, not to the good deed itself”. This teaching is in the form of a:

___________________________________________________

9. “Publishing the Sutras” tells the story of Tetsugen, a devotee of Zen. In it, the writer claims that “(t)he Japanese tell their children that Tetsugen made three sets of sutras, and that the first two invisable sets surpass even the last”. This is said because the Tetsugen gave the money to the Buddhist priests to build a golden temple where everyone who forever have a glorious place to pray.

(Circle one) True False

10. The parable “Right & Wrong”, Bankei, a Zen master, backs a thief among his students, telling them that they know right from wrong but “(w)ho will teach him if I do not?” Hearing this, the thief did which of the following;

A) Confessed B) Cried C) Laughed D) Escaped

11. “The Deserted Crone” by Zeami Mutokiyo is an example of Kabuki Drama.

(Circle One) Yes Noh

12. This type of Drama has religious roots and is said to lead to spiritual enlightenment. Name the religion that this dramatic form is based upon.

_________________________________________________

13 &14. There are two major reasons why this type of Japanese Drama is similar to Greek drama. They are:

1)____________________________________________ 2)____________________________________________

15. The play’s title, “The Deserted Crone”, refers to an old woman who was left to die on Mount Tonagawa.

(Circle one) True False

16. “Tanka” Poetry actually means_____________ ______________

17. Tanka Poetry consists of 31 syllables divided among five lines. (Circle one) True False

18. Which of the following is NOT a subject of Tanka Poetry:

A) The significance of love B) The necessity for war C) The beauty of nature D) The passage of time

19. Haiku poetry possesses three qualities that are greatly valued in Japanese Art. These are:

A)Precision, delicacy, and drama B)Precision, economy, and power C)Precision, economy and delicacy D)Precision, delicacy, and grace

20-23. A Haiku consists of ____lines of poetry. Line one has_____ syllables; Line two has_______ syllables and Line three has _____ syllables.

24. Haikus also contain a “Kigo” which is a

_____________________________________________

25. Along with their rhyming structure, Haikus are known for their:

A) Humor B) Imagery C) Figurative Language D) Drama

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Breadcrumb

Japanese Haiku and Haiga: A One Week Unit Plan

Monday: Day 1

Lesson:

Theme of the Lesson:

California State Standards:

ELD Standard:

Objectives:

Materials:

Prior Knowledge:

Anticipatory Set:

Lesson Body:

Lesson Conclusion/ Re-teaching:

Homework/ Reinforcement:

Tuesday: Day 2

Lesson:

Theme of the Lesson:

California State Standards:

ELD Standards:

Objectives:

Materials:

Prior Knowledge:

Anticipatory Set:

Lesson Body:

Conclusion/ Re-teaching:

Homework/ Reinforcement:

Wednesday: Day 3

Lesson:

Theme of the Lesson:

California State Standards:

ELD Standards:

Objectives:

Materials:

Prior Knowledge:

Anticipatory Set:

Introductory Activity:

Lesson Body:

The Rest of the Lesson Body:

Conclusion/ Re-teaching:

Homework/ Reinforcement:

Thursday: Day 4

Lesson:

Theme of the Lesson:

California State Standards:

ELD Standards:

Objectives:

Materials:

Prior Knowledge:

Anticipatory Set:

Introductory Activity:

Lesson Body:

Note:

The Rest of the Lesson Body:

Conclusion/ Re-teaching:

Homework/ Reinforcement:

Friday: Day 5

Lesson:

Theme of the Lesson:

California State Standards:

ELD Standards:

Objectives:

Materials:

Prior Knowledge:

Anticipatory Set:

Introductory Activity:

Lesson Body:

Note:

The Rest of the Lesson Body:

Conclusion/ Re-teaching:

Homework/ Reinforcement:

World Literature: English IV UnitTest 3: Capturing the Moment Ancient Japanese LiteratureMr. Keveanos, Room 602

World Literature: English IV Unit
Test 3: Capturing the Moment Ancient Japanese Literature
Mr. Keveanos, Room 602