Thursday, June 18, 2009
Thursday, January 24, 2008
Five Corners Two
On Words
Five Corners Two
By ANDREW GREENE
The aptly named 5 Corners 2 is the second annual show for five friends who happen to be Indonesia-based artists. This year the artists, Charles Schuster, Gwen Shackleton, David White, Neil Bunting and Jeanie Merila are displaying approximately 80 pieces showcasing myriad styles, techniques, influences and results at the JW Marriott Hotel in Mega Kuningan from November 22nd – 25th.
Schuster, an art teacher at Universitas Bina Nusantara and
I have yet to see any of Schuster’s pieces but am intrigued by the thought of an artist finding the miracle within such commonplace items such as skin and tree bark.
Shackleton, a
Shackleton says, “I have no particular style of working, nor do I have a singular focus for subject matter – I paint when I am inspired by what I see, and I never know what, when, where or how that will happen – I merely react.”
Shackleton’s two meters by one, acrylic on canvas painting, Cirebon Sawah, Cirebon Rice Paddy, with its repetition and pattern makes excellent use of the Gestalt principles. More importantly to me, at a more animalistic level, its courageous bands of yellows, purples, greens and blues are simply beautiful.
She says about the work, “This is the largest work I have done to date and presented a great challenge to me in technique and scale. The colour scheme is complementary in its use of purple and yellow, but is only a slight exaggeration of the original intense hues seen at early evening on the harvested rice paddies of
The second
White says that he attempts to avoid the typical "photorealism" that is common to the figurative genre. Instead, the curly-topped artist veers toward interpretation through intense color selections, abstract mixtures, personality of the individual subject and their mystifying surroundings.
London-native Bunting, now a fortyish-something family man, revisits the influences of his youth with his My Punk Paintings 2007 collection. The
The pony-tailed Bunting adds, “It is interesting to me that this imagery and music derived from the
Another color-enthusiast, Merila, an Art & Design teacher at the
Merila says, “My art is about using colour, light and textures to transform my world. The way light bounces off leaves, sand and sea in the afternoon sun, the broken reflections in water, or the translucent hues and textures on life ten meters below ocean waves. Works are en plein air paintings from
The Exhibition opens on Thursday, November 22 at
See you there,
AG
This article was originally published
Editing your work: writing tight brings the might
On Words
Editing your work: writing tight brings the might
By ANDREW GREENE
Their second sin is that the words that make up lazy openers are simply unnecessary. Jump right into the action when writing. These phrases are easily cut from most writing and sentences read much better without them. Consider this example:
There is a mindless way to preparing meals which comes hand-in-hand with a mindless way of eating. This mindset is becoming more prevalent day-by-day and continues to bring with it greater and greater consequences.
By jumping straight to the point and eliminating the lazy openers and weak verbs we have reduced the excerpt by a third, giving us:
A mindless way to preparing meals, counterpart to the mindless way of eating, grows more prevalent every day and brings greater and greater consequences.
Although more concise and therefore stronger than the original example, you can reduce it even further:
Mindless meal preparing, like mindless eating, grows more…
Prepositions show relationships of one word to another. Some common prepositions are at, by, for, into, in, on, to, and with. A phrase, a group of words, that begins with a preposition is a prepositional phrase.
When editing, examine any sentences that seem to overly rely on prepositions. A good rule of thumb to follow is to avoid listing three or more prepositional phrases in a row.
The following example displays a number of the indications of excess wordiness that we have been covering:
The explanation offered by the principal of the school about the purpose for the new reading program in the English Department and the reasons that the teachers are not able to satisfy the wish of the parents by meeting with them this week was published in the newsletter.
Whew… What an eye full! How many prepositional phrases do you count in that example? What about the main verb? Is it active or passive? Remember from the last OnWords that we should stick with the active voice whenever possible.
Let us edit the passage by going active and reducing its number of prepositional phrases down to one.
In the newsletter, the school principal explained the English Department’s new reading program’s purpose and why the teachers cannot meet the parents, as they had wished, this week.
This condensed version is simple enough to be understood in a single reading, which is the goal of the effective writer.
One final ill to keep our eyes open for during the editing process is tedious nouns. Words ending with tion, ence, and ment suck the life out of your writing. Look for the weak verbs and tedious nouns that burden this passage:
The suggestion that Jakarta’s population increases and decreases by a quarter at the start and end of each working day, the fluctuation is because housing costs are too expensive near the city center may be incorrect since the benefits of living in the satellite cities are numerous in a variety of ways relevant to both education prospects and entertainment options.
Reading your writing aloud is a great way of judging it. Trust your own ear. Try reading the above. It should be hard to get through. Now, read aloud the revision below:
It is not only the high costs of living in the city center that lead to Jakarta’s population increasing and decreasing by a quarter each working day; people also chose to live in the satellite cities for education and entertainment benefits.
Despite being a third shorter than the original, the edited bit provides the same information as the first while being much easier to understand.
For most type of writing the primary objective is to be understood. By keeping our words as concise and as simple as possible, we are sure to meet this goal.
Happy purging,
AG
This article was originally published
Editing your work: the power of verbs
OnWords
Editing your work: the power of verbs
By ANDREW GREENE
Deleting words, sentences and entire passages from your writing requires a hard to come by ruthlessness. After all, we, when writing, often become fond of what we have laid down and fall in love with our work. It happens to all of us.
The ability to look at sentences analytically is the key to being able to edit and liven up your own work. In order to do this, you need to understand the building blocks that make up a sentence. Its two main parts are the subject, the sentence’s who or what, and the verb, the sentence’s action or state of being.
Although subjects normally come before verbs as in Mom cooked and The sun rises, it is the verbs that give life to your writing. The grammatical subject of a sentence is often times different than the topic of discussion. Look at this sentence, She likes cereal more than eggs. What is the subject? What is the topic under discussion? Are they the same or different? If different, which is more important?
By asking these questions you see that the topic of breakfast foods is more important to the sentence than the grammatical subject, she.
The use of weak verbs produces limp, lifeless copy, while, conversely, active verbs give writing strength and confidence. Weak verbs are those which do not show action such as seem, be, remain, feel, appear along with passive forms, made up of the verb to be plus a past participle: for example, was stolen and has been bitten. The more weak verbs your writing contains, the more tiresome your writing most likely is.
When rereading and editing your work, look for weak verbs. When you find one, ask yourself what the sentence’s action is and then try to express that action as a verb.
Find the weak verbs in this sentence about expensive restaurants, These more expensive, less popular restaurants, whose lack of success was often the result of how expensive they were, are likely to go bankrupt.
The verbs of the rambling sentence are all or contain forms of the verb to be. Let us strengthen it by putting the action into verbs where we can. Here we go, Since these restaurants charge more, they are not popular and may go bankrupt.
Although we still have a single form of to be, this example is stronger for two reasons. First, the second sentence is much easier to understand and secondly, it is half the length of the first sentence. Remember, concise writing is powerful writing.
Consider this copy about a fictional project,
Though the canal ferries will be owned by the neighborhoods that they operate within, they will be operated by members of
The wordiness of this 46-word example results from the many uses of the passive voice. Once you make the verbs active you end up with this tighter 25-word example,
The neighborhoods will own the canal ferries while
Now that we have shown that we must always be aware of weak verbs, we need to recognize that all to be forms and all passive verbs do not need to be kicked out of our writing. After all, “To be or not to be, that is the question,” is tough to improve upon. Weak verbs do have their place. We just need to ask ourselves the right questions during the editing process to ensure that they belong in ours.
Happy editing,
AG
This article was originally published
Three Ingredients to Good Writing
On Words
First of all, ideas are hard to cage elusive creatures. And then once we have been fortunate enough to secure a collection of thoughts to work with, we need to wrestle them into some sort of coherent order all the while deciding which to keep for further development and those of which we need to discard.
Understandably, many never get past this initial prewriting stage.
This does not need to be the case. The most talented, so-called natural writers schedule regular time to work at the craft. They know that writing is a skill that can be practiced and mastered the same as any other. They treat writing much the same as many of us approach golf, cooking, or any other hobby.
Indonesian residents often face the additional challenge of writing in a second or even a third or a fourth language. This hurdle brings with it its own set of unique difficulties since language is in a large part a manifestation of the thought patterns of native speakers.
Just as rules for eating differ from culture to culture, the rules for writing are different all around the world. When it comes to writing, being conversant in the grammar and the vocabulary of the target language is not enough just as when it comes to dinning it is not enough to bring your hungry Acehnese mother-in-law to Tony Roma’s. In order to write well, we need to understand how these speakers organize and communicate their thoughts and their language.
The three main ingredients that determine the organizational patterns of your written English are subject, purpose and audience. Increasing your understanding of these three elements will have you well on your way to becoming an effective writer.
Perhaps the biggest hindrance to writing is not having anything to say, that is, not having a suitable subject. Good writing needs a subject that is neither too general nor too specific. Think about having your school or your workplace for a subject. Both are too large to grip. They must be narrowed down.
The whittling of the former subject may go something like this:
My School
Long Days
Many Classes
Limited Free Time
45 Minute Lunches
Not Enough Time for Lunch
“Not enough time for lunch” is a subject that most students are interested in and would like to explore further. A strong subject is something that you know or that you want to learn more about. Finding a hook to your interest is a large part of the writing process.
The purpose behind your writing is just as important as your subject. Simply put, you need to know why you are writing. Are you writing to entertain, to inform or to persuade? Most writing will have more than one purpose, such as attempting to entertain while at the same time trying to persuade or inform.
An activity that you can do to help build your awareness of purpose in writing is to skim through some newspapers and magazines to find articles that entertain, inform, and persuade. Also, you can look for some that have more than a single purpose.
The final ingredient we are exploring today, audience, strongly affects the first two. Whom you are writing to helps you decide upon your subject and your purpose.
All audiences read your writing with differing expectations. To best be understood and, more importantly, to not be misunderstood it is vital that you keep your audience in mind as you proceed through the writing the process. You probably have incorrectly read between the lines of an email or have had your own emails incorrectly read. As more of our daily communications become less face-to-face and more frequently written, this type of misreading will become more commonplace. By paying attention to your audience you can avoid this error.
A last exercise to tie your understanding of subject, purpose and audience together is to narrow a subject down from the broad ideas of either your school or your workplace. Once you have discovered a subject like “not enough lunch time” determine a purpose and an audience. Then write a paragraph that meets the demands of your subject, purpose and audience.
After you have written this paragraph, change the purpose and the audience while keeping the same subject and write a new paragraph. After you have your two paragraphs compare them and see how writing is controlled by these three ingredients.
If you play with these three basic steps until you are comfortable with them you are sure to make quick progress in your written communication.
Until next column happy writing,
AG
This article was originally published
Technology in the classroom: e-portfolios
On Words
Technology in the classroom: e-portfolios
By ANDREW GREENE
I never understood the reasons behind their use so I asked two Information Communication Technology teachers to talk to me about e-portfolios. One explained that e-portfolios showcased students’ work. He said that a selection of the students’ work was scanned into or produced upon a hard disk that was then saved to DVDs for the children to take home to their parents. He summarized that, “The only positive to this is that we can save audio and video.”
While I understand the need for children and their schools to please parents, this use of e-portfolios did not seem to me to be a true representation of a way technology could best be part of the classroom. Sure, there are some peripheral skills being practiced during this process such as video and audio recording, editing, scanning and saving files, but honestly I expected more. Fortunately, it turns out, there is more.
Supposedly, when ancient Egyptian King Thamus was presented with the new technology of writing he worried that it would turn out to be a tool of recollection rather than a booster of wisdom. When not completely utilized, e-portfolios run this same risk of becoming merely repositories of past accomplishments.
But, the good news is that fully-realized e-portfolios are more than that; they are truly tools of learning. They delineate clear learning standards for educational professionals, students, parents, family members and, in certain cases, the public. Educator June Ahn wrote in the T.H.E. Journal that e-journals are tools that help teachers with both reflection and feedback. She wrote, “As an assessment tool, e-portfolios provide an economy of scale in terms of efficiency and informational depth… providing ease of access to teachers, students and the general public.”
Teachers and authors Leah E Wickersham and Sharon M Chambers wrote about this same benefit in the journal Education. They state that in the past decade the focus in education has shifted “from a teacher-centered instructional environment to a student-centered one.” This has made teachers more accountable to students than ever before and as a result more dependant upon e-portfolios. E-portfolios empower students. They enable us to judge progress and learning objectives against those of other students and institutions.
This work storage and the opening up of the educational ledger are not the only benefits to e-portfolios. Ahn says they also enhance learning by allowing different levels of access to teachers, students and whoever else should be able to review and comment upon work.
These cleared lines of dialogue bring educational content into context. This concept is key in the ESL classroom. Indonesian students frequently know the English tenses rules without knowing when and why to use them. They have the content, but not the context. Content acquisition is fine for sitting exams, while contextual learning is necessary for living.
Wickersham and Chambers continue, “Multiple researchers concur that the best learning, which is retained, occurs in the context of an active learning experience.” E-portfolios brings context to learning by helping with self-reflection while turning the classroom and homework experience into a more dynamic experience by inter-connecting all of the students’ work with what is happening around them.
Just as I am writing this article following years in the classroom, discussions with ICT instructors and the reading of numerous educational journals, all students learn and produce work that has been filtered through their own experiences. When such work is stored online along with links to class material and peer work, students, parents and teachers can look back upon it learning from it in relation to the setting that it was completed in. This helps everyone.
By improving communication within the teacher-student-parent triangle and bringing context to content, e-portfolios are a tech tool that belongs in the classroom. The challenge we face is how to best make use of them.
Happy Holidays,
AG
This article was originally published
Studying Online
On Words
Studying Online
By ANDREW GREENE
I have taken online classes with schools in
Through the use of the internet and virtual classrooms, I have truly felt that I have been part of these classes. After much reflection and research I have come up with five main reasons a person should consider studying online.
1. For many, the most important reason for pursuing a degree online is cost. Distance learning saves money on transportation plus room and board at a school. As stated in our last column, these costs can easily add up to (USD) $10,000 per year.
2. My online learning experiences have been vastly different to those of my earlier university years in
Distance learning introduces you to people from all over the world and from all walks of life. Online, I have studied with and learned from peers living on three continents with each possessing unique professional backgrounds and life experiences. An analytical writing class I completed just last week had a Transportation Security Administration inspector, preschool teachers, a computer programmer, a traveler and a metal shop worker for students. They all made for an interesting mixture that made the learning enjoyable and worthwhile.
3. Although distance learning students are in classes comprised of students from around the globe, they are still able to enjoy the benefits of living at home. They can use these years to learn the family business or help with whatever familial responsibilities need to be covered. Furthermore, by remaining home you do not need to be concerned with the costs and troubles of securing a student visa. Overall, staying put in
4. With distance learning, students have constant and immediate access to course materials. The classes I have been in have had bulletin boards, email communications, online content and library access. I have been able to study and review the materials at my convenience. There is no need for me to carry books around, since as long as I have internet access I can study.
Also, when students post their work in the virtual classroom we were able to review and learn from it. There have been many occasions when I was simply amazed, in a positive way, by someone else’s take on a topic.
In addition to classes that you enroll in, many universities post lectures online free of charge for anyone to learn from. Of course, you will not get class credit for learning this way, but the benefits to learning need not be only pragmatic.
In the autumn of this year, Stanford University, ranked second best in the world by The Economist Magazine, offered the following free seminars: Seminar in Guidance, Navigation and Control, Bioengineering and Biodesign Forum, Law for Computer Science Professionals, Software on Demand, Frontiers in Interdisciplinary Biosciences, Human-Computer Interaction Seminar, Seminar on Computer Systems, Seminar: Topics in International Technology Management and Entrepreneurial Thought Leaders Seminar.
5. Distance learning instruction forces students to become fluent in the languages of English and technology. There is a basic educational tenet that all classes are language classes. I like that idea. After all, math has its own vocabulary and needs, just as the different sciences and other subjects do. I feel that technology should be treated the same. In reality, all classes are technology classes. Online classes enable students to improve their English and technological capabilities no matter where they live.
Whichever direction you decided to follow, local, online or overseas, I wish you success in your educational pursuits.
Cheers,
AG
This article was originally published
Why Keep Learning
On Words
And rightfully so, after all, investing in education produces bountiful dividends. Nipissing University of Canada reported in 2001 that a university graduate earned an average of 91% more than someone who possessed only a high school diploma. Over the course of a lifetime this worked out to more than one million Canadian dollars at the then present value. The benefits of a university degree are not merely monetary. Without a degree, you cannot even apply for many of the most rewarding and interesting jobs.
For many Indonesians, a qualification from a local university is not enough. Many prefer to study abroad. According to the
Whatever the reason, it cannot be denied that an overseas education provides many benefits. First of all, the quality and standard of foreign education is, as a whole, of a higher quality than that which is offered in
The internationally-recognized qualifications you earn overseas can help you in a number of ways. They open up the entire world as a job market. They add value to your resume. They provide proof that you have been exposed to techniques, skills, perspectives and systems of thinking that you may not experience in
Language is often another deciding factor for people who are considering such a move. More than ever before, people have a need to learn English. It is the language of business and technology. Many international companies and organizations will not consider hiring employees who lack adequate language skills. Without the ability to process English, you are locked out of one-third of all the information on the internet, and a large percentage of the material published on business, medical and technology matters.
However, the advantages to an overseas degree notwithstanding, there is one prohibitive hurdle to realizing this dream. It is extremely expensive. CNN reported that the average cost of a four-year private college climbed above the (USD) $30,000 mark for the first time last year. For foreign students, who are charged a higher tuition rate, this cost is even higher. In addition to the course fees, students studying abroad also need to figure in travel and living expenses which can add up to more than (USD)$ 10,000 per year.
Fortunately, there are other, less-expensive ways to earn that same high-quality education nowadays. The first option is to complete a portion of the degree in
The second option is online learning. The fact that technology is making the world smaller is bringing traditionally brick-and-mortar classrooms to wherever the students may be. OnWords’ next column will explore these two ways of reducing the cost of an overseas education along with the qualities and factors to consider while choosing a program.
Until next column,
Cheers,
AG
This article was originally published
Learning to Think
On Words
Learning to Think
By ANDREW GREENE
Critical thinking is, as defined by American psychologist Diane Halpern, the ability to use skills and strategies in a purposeful manner, increasing the probability of achieving a desired result. It is this ability, more than any content learning, which students need to bring forward with them into future learning situations both in and out of the classroom.
Without critical thinking skills, we cannot fully participate within our current time and context. Nowadays, we face new learning challenges faster than ever before. Whether at school, home or our workplace, we constantly must make decisions quickly and correctly. For us, living in
Imagine standing by the river and then suddenly you see someone in the water, waving their arms, being swept downstream. If you can swim and you are able bodied, you would probably jump into the water and try to save the person. Good for you! That is good thinking and certainly responsive to the person in need. After you save one person, you go back on shore and dry yourself off and you suddenly see another person floating down stream in the same manner. You jump back in and you save that person. This strange occurrence happens again and then it happens again a few days later when you walk by the same spot along the river. A thinker would jump into the water and save the drowning people one by one by one. A critical thinker would do something else. Can you guess?
Yes, a critical thinker would ask, why are these people falling in the river? What is happening upstream?
Suopis explains that this story shows that simply reacting is “a very different thing” than using skills and strategies to break problems into parts for analysis. This process slows down the situation enabling you to search for the heart of the problem and ways that can best solve it. Suopis’s explanation reminds me of the way in which top-flight athletes talk about how they see the entire court or field while everyone else moves around them in slow-motion.
Fortunately, anyone can improve his or her critical thinking ability. In their book, Writing Analytically, David Rosenwasser and Jill Stephen lay out “five analytical moves” that we may follow in order to strengthen our critical thinking. We will review three of the five moves in today’s column.
The first move is suspending judgment. The two authors argue that the stopping of judging our world with likes and dislikes, agreement and disagreement is well worth the effort since judgments usually say more about the judge than that which is being judged.
Secondly, Rossenwasser and Stephen suggest that we “define significant parts and how they’re related.” This is the breaking down of a situation into workable pieces. This moving from the general to the specific and tracing the relations between the parts is vital to all critical thinking. We often use this technique in the language classroom when it comes to reading and writing exercises. Once, we can see how a text is organized and figure out how everything is connected, the mystery and the fear are vanquished from the learning process.
Finding patterns and binaries is important for the critical thinker and the authors’ third analytical move.
Binaries are matched pairs of exact opposites such as open and closed, black and white, home schooling or enrolling in school. Actively searching for these forks in the analytical road is essential since this is from where both sides of arguments are found.
Critical thinking is not a simple process of moving from point A to point B to point C. Sometimes we need to explore the road less traveled before turning back from where we came or, if need be, continuing on. Critical thinkers ponder and revisit all possibilities.
Thankfully, Rossenwasser and Stephen do not merely explain these moves. They also provide suggestions for us to follow if we would like to strengthen our critical thinking. We can actively work our critical thinking muscles on poems, speeches, movies, paintings, or anything we can read or observe.
I tried out the analytical moves on Emily Dickinson’s, Because I Could Not Stop for Death. Sure enough, by suspending judgment and searching for the parts that make up the whole, I was able to appreciate the poem in a way that I had never been able to do before with poetry. I hope that you too can find the time to practice the moves.
Happy thinking,
AG
This article was originally published
Three Big Answers by ESL’s Biggest Star
On Words
Three Big Answers by ESL’s Biggest Star
By ANDREW GREENE
OnWords: What productions have you been a part of in
I hosted more than 30 Turis Dadakan, Sudden Tourist, prime-time episodes. This has been my favorite shooting gig, since I got to travel all over
On the other hand, I enjoy fiction, though not Cinetron so much. I especially like acting in comedies. There's such a challenge in comedy, and it's just a lot of fun to do. I have been a guest star on a variety of shows like, Rumpi Talk Show, Selebriti, Kontes Dangdut
I really have a passion for acting and have enjoyed the roles I have played on made-for-television films, Layar Komedi and various roles for Tawa Sutra.
In addition to the acting, I have been a contestant on Bule Gila, (Crazy Whitey), Indonesia’s Family Feud game show, and Super Deal 2 Milyar (billion). Non-fiction is easier; I just have to be myself when I'm a host or a contestant on a program.
OnWords: How did you get involved in teaching and what do you enjoy the most about it?
Teaching for me is very similar to being onstage, it's all in the performance and delivery. If you can teach and entertain at the same time, it makes it all the more enjoyable, and therefore memorable, for the students. I first started teaching in
I love teaching young people. They're more likely to be as gila, crazy, as their bule gila teacher. I often like to do dramas and role plays in class, and the students are less reticent to just jump up in front of the class and do it. Business classes I find a little too dry so I try to avoid those. Teaching to my strengths is important to me.
I have been lucky to have an understanding director of studies, Justin Roberts at
OnWords: Why did you first come to
I basically came as a language refugee from
I had come to
It’s a bit cliché, but honestly
OnWords: Thank you for your time O’Donnell. I look forward to catching you on the screen in the near future.
Until our next column,
Cheers,
AG
This article was originally published
Importance of Art
On Words
Importance of Art
By ANDREW GREENE
The groupthink seems to be that studying art is fine as long as time and other resources allow. Otherwise, it is treated as if it were a disposable subject; something that is at its heart little more than an entertainment that can be guiltlessly thrown away.
True, most students do not grow up to be professional artists. But then again most do not become mathematicians, authors or scientists either. However, since we understand how the macro skills taught through math, language and science instruction spread into all areas of our lives, those later subjects remain untouchable.
What we fail to keep in mind is that when we study art we discover new ways of looking. Art opens our eyes. Without fresh perspectives there will be few new ideas in math, science, literature, business or life. A background in art gives us the ability to see the world from different angles. This is a skill that colors all that we do.
One of the best ways parents can foster their children’s natural love of art is to introduce them to museums and clubs that stimulate their interests. In
Consisting of a variety of workshops and instructed by 15 art teachers, the workshop gave students the opportunity to learn from new friends. Teacher Judi Harwin says that although the students started off a little shy they were eager to learn new skills and "were extremely motivated by working alongside students from different schools."
Participant eleventh-grader Satoshi agrees saying, “It’s a good idea to have this kind of event, because we were able to learn lots of art techniques from different teachers and share our knowledge of art with other students.”
Tuktik, another eleventh-grader, was also pleased with her experience. "I’ve learnt new things,” she recalls, “gained new skills, experienced new styles of teaching. It seems to me the world is wider.”
Art workshops provide students safe places from which to address difficult subjects. Satoshi is especially proud of his work on racism saying, "I did nine paintings of students' faces. It was a bit hard, but it was fun as well… I used black, white and gray for the painting on canvas in a black frame. The idea is to show that if you take the color out people, we are all the same."
An additional beaming participant, tenth-grade student Hana, says about her project, "I wanted to focus on an Indonesian concern. I picked the Bird of Paradise because the bird is only found in
Learning from others is one the keys to the success of these workshops. Simon Mortimer, the leader of the workshop's etching work station, says, "The focus was on giving students from different schools the same collective artistic experience, but more importantly, to allow them to have fun experimenting with different media and techniques."
Harwin agrees adding that she believes that both teachers and students got the chance to grow. She says, "There is a great diversity of international and national teachers, different ages, yet with a common focus… We all have our own individual strengths and weaknesses, so we pick up lots of helpful advice.”
For further information about joining an art club or school contact JATI at jati_contact@yahoo.com,
Until next column,
Happy Creating,
AG
This article was originally published
Saturday, October 27, 2007
Jakarta Art Teachers & I
On Words
By ANDREW GREENE
Each day, art teacher Neil Bunting works at solving this problem with his dedication in his international school’s classroom and through the organization he founded, Jakarta Art Teachers & I.
Formed two years ago this November, JATI was, like much in the art world, crafted out of a sense of anxiety and loneliness.
Bunting, who has lived in
JATI’s inaugural meeting in 2005 was attended by five international-school art teachers. These initial members were enthused by JATI’s dream and spread its message and now around 20 members from thirteen schools take part in each meeting.
In addition to the monthly meetings the members are in near daily contact with one another in order to bounce ideas around and share practical information about such things as exhibitions of interest and where to buy art equipment. “The organization has made significant progress during the last two years,” says Bunting.
Open to all Indonesian schools, JATI promotes the values of expression, individuality, and creativity. Bunting explains that the organization “encourages collaboration and sharing of expertise between art educators, facilitators and anybody who cares passionately about the visual arts” by developing and promoting art through exhibitions, workshops and all kinds of artistic relationships between students and teachers.
Bunting says that it is key to JATI’s vision that local, national and international schools are involved, “This is imperative. The organization is not simply an international school organization. Many of our schools use the International Baccalaureate curriculum. To apply the philosophies of IB we must involve Indonesian schools. This is not just about paying lip service to a school curriculum. This about doing what is right—walking the walk.”
“We,” Bunting continues, “are still striving to involve Indonesian schools and the local community more. We want Indonesian art teachers to take a more active role and we are seeking to not make them feel alienated in any way by producing our minutes and agendas and statements in Bahasa and English.”
Past workshops have featured stations teaching a variety of techniques from book-binding to chocolate moulds and transcriptions in mixed media to printmaking and watercolor painting.
Both students and teachers are encouraged to stretch, to grow at JATI workshops. The students experience new techniques and ideas while the teachers are able practice team-teaching methods and observe their peers at work.
JATI continually strives to create and maintain mutually supportive working environments. Bunting believes its members understand that in order to be creative, the fear of mistakes must be abolished.
Bunting says, “Workshops are particularly beneficial for students from less well resourced schools, who, for example, have never had the opportunity to use a printing press or be involved in photographic processes.”
The new year should be fruitful for the club. Bunting and JATI colleague Dave White are hard at work securing a location for JATI’s next exhibition. Showcasing the work of students of all ages from the organization’s 13 schools, Bunting promises the show will be "huge."
This next exhibition is just a step. Bunting says, “"JATI will go from strength to strength. There will be more exhibitions, workshops and opportunities for the art community.”
For further information about JATI, visit its website at http://www.neilbunting.com/JATIWEB.html, email the organization at jati_contact@yahoo.com or telephone Neil Bunting at +62 813 10921265.
This article was originally published in The
Tuesday, October 09, 2007
Monday, October 08, 2007
Public Speaking: Rehearsing and Giving the Speech
Rehearsing and Giving the Speech
By ANDREW GREENE
First of all, as we prepare to conquer our oratory fear, we need to remember that the key is in the preparation. It is as coaches preach, “You play as you practice.”
Confidence in front of your audience comes from complete familiarity with your material. Tentativeness and an over-reliance on notes rob you of your confidence and therefore your credibility.
As you practice your speech, you need to remember where your signal words are. How did you organize your speech? What are the most important points? Once you understand and are fully acquainted with the skeleton of your speech you will be more capable of presenting it in a natural manner.
Mind-mapping, also called clustering, brainstorming and a whole list of other names, is one effective way of memorizing your speech’s notes due to its visual nature.
To mind map, you begin by writing your subject in the middle of a blank sheet of paper. You next circle the subject and then write your main ideas radiating out from the circled central-subject. From these main ideas you branch out your supporting details. Once you have finished, you are left with a series of webs that clearly delineate the relationships between the subject, its main ideas and their supporting details. Some people feel that color coding the map by order of importance is of further help.
After you have memorized your speech using whichever mnemonic techniques you are comfortable with, you will need to rehearse it. At first it is fine for you to practice with your note-cards, but eventually you want to be able to deliver your speech without them, only having them on hand in case of emergency.
When you begin to practice aloud you may initially feel awkward. After all, for most of us, it is not natural to speak all alone. What you should aim for is the ability to give your presentation in a conversational, normal manner. As you give yourself feedback on your rehearsals, ask yourself if you appear natural. Drill and drill until the speech becomes second nature.
Where are you going to give your speech? Are you going to use any sound or lighting equipment? If so, try to get practice time in the actual venue and with the equipment that you will be using. The time to first hear your own amplified voice is not when you are parting your lips in front of the audience.
When the occasion to give your speech arrives, there are a number of tips for you to keep in mind.
Most importantly, you need to remember that you are ready. You are completely prepared and it is you who knows your material the best. Next, you need to always bear in mind that the audience is there for you. They want to go on your journey with you. They are not looking for faults; they want you to succeed.
You want to speak to friends, not strangers. The international nonprofit organization Toastmasters suggests you greet members of the audience as they arrive. This gives you the chance to “Know your audience” and in turn boosts your credibility.
During your speech it is helpful for you to look out over the audience and make eye contact with individuals. This calms your nerves and in turn puts your listeners at ease.
As OnWords’ final public speaking column comes to a close, I would like to ask you a few questions. What public speakers do you admire? Why do they appeal to you? Is one of their main strengths that they seem to belong on stage? That they are natural speakers? I am guessing your answer to these last two queries is, yes.
What we all need to keep in mind is that when we are observing those gifted speakers, we are witnessing just the tip of a long process that involves writing, editing, and a whole lot of practicing. They have put in the time perfecting this skill so that it does in fact become natural. The good news for all of us is that we too can work at public speaking. We too can transform it into an activity we come to enjoy.
For information on how to join Toastmasters or on how to even start a chapter within your company or group please contact Kebayoran Toastmasters’ Vice President (membership), Monica Sugiarto, at 062818155119 or queen@sugiarto.famili.com. Toastmasters also has a website, www.toastmasters.org, loaded with public speaking tips and membership information.
Until next column,
Happy Speaking,
AG
This article was originally published in The
Public Speaking: Clearing the Mud
OnWords
By ANDREW GREENE
During this phase, it is helpful for you to keep in mind that your primary goal is simply to communicate your message. Show no mercy when it comes to editing your speech; it is dangerous to fall in love with your own language skills.
The following points will help you while you edit.
Adjectives deaden. “Show, don’t tell,” is the old axiom. Adjectives, words such as pretty, good, best, important, do not tell the listeners much about your subject. They just tell the audience how you feel about the subject.
Have you ever asked your kid how school was and all you receive in return is a reply of “good?” Of course you have. All parents have. Why is this common answer so frustrating? Because, what we want to learn are the hows and whys of our children’s days, not just that they are good or bad or awright. Your audience is no different. An over-reliance on adjectives keeps your listeners from going on the thinking journey with you.
Awaken the senses. Can you see, taste, feel what you are trying to say? If you cannot, neither can your listeners. The noun happiness is just a word, an abstraction, an idea. It is no stronger than an adjective. A warm puppy, coffee served in bed, a phone call from an old friend, those are all concrete ingredients that make up the experience of happiness. By replacing telling words, adjectives and abstractions, with concrete details, that is showing words, your listeners experience your speech.
Public groping is distasteful. When you have got something to say, say it! Do not stand in front of all, reaching for meaning as you try to clarify your position. Phrases such as, “What I’d like to say…” and “What I’m trying to get across today is….” only tell the audience that you do not understand your own message. By having chosen a subject and focus that you believe in, you can avoid these trust-killing phrases and stick with the concrete details audiences thrive in.
Confidence. Before your listeners can believe in you, you must believe in yourself. Saying, “I feel that…” or “In my opinion it’s clear that …” weakens both you and your message. If you do not feel it, do not say it. Your audience understands that what you say is what you believe.
If you need to share someone else’s thoughts, attribute them to that person so that your own message maintains its integrity.
Which sentence is the strongest from the following four examples?
The Red Hot Chili Peppers are an underrated band.
I believe that the Red Hot Chili Peppers are an underrated band.
You need to understand that The Red Hot Chili Peppers are an underrated band.
He feels The Red Hot Chili Peppers are an underrated band.
The first sentence is the most powerful since it is stated as a fact. There is no belief, no feeling, no wiggle room involved in the declaration. When speaking this is the most effective format to follow.
Stop on and ons. Many of my students love to use etc… This is wrong. When you want to give a list, give the list. Then stop that list concisely with your final item. Your listeners do not need to hear “etcetera” or “and so on.” Keep your message clear, by just sticking to your message.
Repeat by repeating. During your introduction and your closing you will wish to restate your thesis. Also, throughout your speech you will need to reinforce your speech’s main ideas and theme. However, it is important for you to do so without muddying your words with things like “Let me reiterate now…” and “Once again, I need to stress…” When you need to restate, do it. Do not ask for permission, do not explain. If your message is clear and strong, your listeners will be smart enough to follow.
In the next OnWords, our final installment in the public speaking series, we will go over rehearsal techniques and tips for the actual presentation.
Until then,
Happy editing,
AG
This article was originally published in The
Thursday, October 04, 2007
Speech Writing
On Words
By ANDREW GREENE
First of all, we need to realize that while there are commonalities in all forms of writing, the fact that a speech is heard, not seen, presents us with some unique challenges.
A reader is able to highlight important details, reread complicated passages and even take breaks. The listeners of your speech will not have these liberties. They will just have a single go at it and it is up to you, the speech writer, to craft a message that is both comprehendible and interesting. You have got to write something that is as listener-friendly as possible.
To help your listeners, it is important that your speech has a theme that can be referred to again and again. The theme will largely be determined by your speech’s subject, purpose, audience and occasion. It is the single thought you would like to leave your audience with.
If the subject of your speech is “success” then perhaps your theme could be “never giving up on your dreams.” This gives your subject a focus and provides your audience one easily remembered point.
After you have chosen your theme, organizing the speech is a pretty straight-forward affair. There are three main parts to a speech: the introduction, the body and the conclusion.
Beginning the speech writing process with an outline is a good idea since it provides you with a visual layout that is easy to remember. While you build your outline you need to remember to come back to your theme at the end of each main supporting idea.
Once the outline is finished, the time to write the speech arrives. The introduction needs to jump right into the action by stating your theme and then giving a preview of your talk. This will provide your listeners with a clearly demarcated path.
The introduction should say something like, “Today we are going to discuss three ways in which never giving up on your dreams leads to success. First, … Second, … Third, …” These words, “First, Second” and “Third,” act as signposts which lead your audience where you would like them to go.
When it comes to speaking, simple is beautiful. A speech’s sentences need to be precise and short. If you use complicated sentences you run the risk of losing the audience. Generally speaking, more complicated subjects demand more concise structures. Specialist vocabulary and acronyms need to either be avoided or explained in full.
Pronouns present a danger too. They can be difficult on the listener. It can be tough trying to keep tract of what “it” or “this” or “he” refers to. In speeches it is usually best to stick with concrete nouns.
Transitions are especially important in speech writing. As mentioned above, these are your speech’s signposts. By the proper use of words such as “but,” “however” and “despite” listeners know that a contradiction is on its way; while using “additionally” and “another point is…” informs the audience that you are about to buttress your position.
Do not be a statistics slave. Only present the most salient factual details that support your theme. This is the information that listeners are not going to easily forget. Your audience can get lost if you throw too many numbers and data at them.
After you have written the introduction and the body of your speech you will need to write your conclusion. An effective conclusion lets your audience know that the speech is coming to an end and more importantly restates your theme. A sound way of testing your conclusion is to see if people get a good general idea of what your message is just by listening to the conclusion.
By paying attention to vocabulary, sentence structure, theme and its reinforcement along with its overall simplicity you will soon be writing speeches that you will be proud to present.
This article was originally published in The
Speech Writing: Subject, Purpose, Audience, Occasion
OnWords
Public speaking success is in a large part determined by your attitude. You can maximize this positive attitude potential by keeping in mind the four organizational basics of subject, purpose, audience and occasion while you plan your speech.
Subject
You cannot have confidence in front of others, if you do not have confidence in your subject. That is why it is essential for you, especially if you are a beginning orator, to choose a topic that you know well, something that genuinely interests you and something you understand.
There are numerous techniques which can help you whittle down broad subjects until they become specific enough for you to give a concise and, therefore, effective talk on. Some methods, such as brainstorming, listing, the journalist approach, and freewriting have been explained in previous OnWords columns which are archived on my blog, http://writerinjakarta.blogspot.com.
If you are able to sum up your topic, your thesis, in less than half a minute, you have most likely sufficiently narrowed it down. Later in the process, as you write your speech, you will need to keep coming back to your thesis asking yourself if what you are writing is relevant to the topic.
Purpose
Once you have uncovered a topic you feel comfortable talking about, it is time to for you consider the purpose of your talk. There are three main motivations behind a speech, to entertain, to inform and to persuade.
George Grice and John Skinner say in their textbook Mastering Public Speaking that you are an entertainer when you want to amuse, a mentor if you wish to inform and an advocate when you persuade.
The most memorable speeches combine elements of more than a single purpose. At the early stages of your speaking journey it is usually best to stick with entertaining and informing.
While going through this step, you need to ask yourself what you would like the audience to do or to learn. What do you hope they gain from their giving of their time?
Audience
Who you speak to greatly influences the subject and the purpose of your speech. To be an effectual communicator you must never forget who your audience is.
Have you spoken to the group before? If so, what did you learn about them? If it is a new group, you need to ask yourself what the audience members have in common. What is your connection to them? How can you establish a rapport with them? What do they hope to gain from listening to you?
Different audiences have different needs and different expectations. Although they share a subject, a speech you give to your child’s class on career day would be completely different than one you would give to a panel during a group interview. Vocabulary, tone, grammar, body posture and gestures are all determined by who you are speaking to.
Occasion
Related to audience and purpose is the occasion. You need to know if you are going to be the event’s only speaker. If you are one of many, you will need to be more aware of how disconnected your audience may be feeling by your time to speak arrives.
Time constraints are likewise important. Always leave the audience wanting more by wrapping up your speech before the audience begins to tune out. The last thing you want to see as you look out over the audience is a sea of glazed-over fish eyes. Remember, listeners will complain about you speaking for too long before they complain about you being too short.
After you have organized your speech while always being cognizant of your subject, purpose, audience and occasion the time to write it comes. OnWords’ next column will help you with that.
Until then, good organizing,
AG
This article was originally published in The
Sunday, September 16, 2007
Public Speaking: The Greatest Fear of All
On Words
Public Speaking: The Greatest Fear of All
By ANDREW GREENE
Sure, when sitting around a table with friends or standing in front of my students I was cool, coherent and as charming as a Pomeranian kissing a
Public speaking was my greatest fear.
I did not tremble alone. Many western studies have found the fear of public speaking to be the most dreaded of them all, greater even than the fear of death itself. Monica Sugiarto, Vice President Membership, Kebayoran Toastmasters, says that although she has not seen any statistics on the subject she believes it to be the top fear in
For me, the pain would start as soon as I found out I was to speak. Right away, my mind would begin to play over and over the upcoming task and visualize all that could and surely would go wrong. As the days passed, the anxiety would fold up upon itself filling my days with worry, my sleep with nightmares.
I honestly did not care how effective I was or what my audience got out of it. As far as I was concerned, once the words left my mouth, they were no longer my responsibility. It was up to the audience to dig through the quick-speak, mumbled message. I had done my part.
And this is the state my skills would still fester in if I were not a teacher. Just over a decade ago, I began to learn the secrets about how to speak effectively by having to critique others when I was given a class of business executives who wished to sharpen their presentation skills. At that early point I was living the old axiom, “those who can, do; those who cannot, teach.”
However, my students’ blossoming abilities drove me to study the subject more deeply. It turned out that public speaking consisted of a skills set that could be learned the same as cooking or drawing. True, not everyone will become an Obama, but by learning how to properly prepare for, practice and give presentations even the most leaden-tongued of us can come to approach these tasks with confidence.
As I acquired more knowledge, my confidence grew and I began to give presentations to prospective clients and lead training workshops at my school. Although I still did not genuinely enjoy public speaking, I was at least able do the job when need be.
Learning these skills will enrich your life both personally and professionally. Sugiarto says, “We get more confident by overcoming fear. Since we do this ourselves, with no teachers, we give giveback. This improves our listening and communication skills along with showing us how to look at things from different points of views… We become better parents and teachers.”
In the next OnWords, with Sugiarto’s help, we will go over some public speaking techniques and learn how to practice them. Hopefully, with time, they will become some of the most-frequently-used tools in your language skills toolbox.
Good presenting,
AG
This article was originally published in The
