Tag Archives: 19th Century

Happy half term!

Jack and the BeanstalkWhen I travel about the place I tend to forget stuff (I recently left a bag on a train back from Manchester).  Here’s a short poem about the effect of leaving things at home.

When I spend a night away

I pack a bag for where I’ll stay

I’ll put in socks and pants and stuff

(pyjamas and a shirt’s enough).

As I’m leaving, in my rush

I always forget my toothbrush.

This regular lapse of memory

means that in my bathroom, I have three!

The toothbrush collection causes a stink

they take up room around the sink.

The soap is squeezed to find a space

there’s just enough for my toothpaste.

Three is company and very nice

but I don’t brush my teeth three times!

This trio make the bathroom hectic

and there’s a fourth (it’s electric!)

Next time that I’m on a trip

I really need to plan for it.

Somehow or other I have to stop

buying toothbrushes from the corner shop.

But if I’m away and I’ve forgotten

another one would not be rotten.

Owning five might seem obscene

but at least I’m committed to oral hygiene!

1000 up for Time the Ostler (and counting)!

I also offer a “Highwayman” workshop!!

A year ago I made a video inspired by “The Highwayman” in which Tim the Ostler confesses what he did to betray Bess and The Highwayman.  Twelve months on its just had its thousandth viewing.  Yah!

I’m thrilled that so many people have watched it (admittedly it’s not millions of bods but I’m not a pop star or a puppy/baby doing anything cute).  As with most things though the devil is in the detail – How many people watched the video because they were looking for it?  How is this short clip being used?  Do people like it?  I wish I could tell you but the truth is I have no idea.  For all the views, my video has received very little feedback.

It’d be lovely to know that this little film is being used as a study tool rather than just accidentally clicked on.  So do me a favour, if you’ve watch and enjoy any of my Youtube videos don’t forget to leave a comment or click “like”.

I also offer a “Highwayman” workshop!!

Mammoths to Medals (Revisited)

John Kirk specialises in drama workshops and theatre for young people.In 2013 I moved from the London borough of Hackney to the London Borough of Waltham Forest.  I may have only moved seven short miles but after six happy years in one of the most vibrant boroughs in Britain it was a massive wrench.  Whilst living in Hackney I had some of the most creatively fulfilling years of my life as I built strong working relationships with organisations including The Hackney Museum.  Hackney Museum, based in Hackney Central Library is an amazing community resource staffed by knowledgeable and creative people with a passion for sharing local history.  I may be biased but I think its one of the best museums in the country.

Working in heritage environments is something I really enjoy.  My earliest solo storytelling pieces were based around British history (including a Victorian Classroom session for The Bruce Castle Museum) and this summer I will be helping to lead a creative exploration of the Guilden Morden fire.

Anyway, as I sat watching Lizzy Yarnold, Jade Etherington and Team GB at the Sochi Winter and Paralympic Games I couldn’t help but think back to my time working with Hackney Museum.  It was in the build up to Summer Olympic and Paralympics (London 2012) that I collaborated with Hackney Museum on Mammoths to Medals,a presentation which sought to tell the incredible story of Hackney’s history as part of the Museum’s Mapping the Change project.  In just 30 minutes we explored 200,000 years of Hackney’s history highlighting the contributions of those people who have called Hackney their home; Anglo Saxon Farmers, Tudor Society, Victorian Industrialists and migrants from across the globe.

In the life of the project I have presented the piece on many occasions at Hackney Museum and in Hackney Primary Schools.  Incorporating games and learning activities into a chronological narrative the piece offer facts about Hackney and but also it questions how we will be remembered.

John Kirk is a storyteller and drama facilitator specialising in drama workshops and theatre for young people.A lot has changed in the two years since we made the piece was documented at Kingsmead Primary School.  Hackney’s demographic and landscape have been slowly morphing for 200,000 years but concerns about how communities will withstand the gentrification of East London mean our legacy is once again scrutinised.

When we look at Hackney’s story it shows us that change doesn’t have to be a bad thing.  It points to how different traditions, cultures and values have shaped an area into a place people want to live and work.   I am incredibly proud of being a part of Hackney’s history and of this piece.  I hope that through watching Mammoths to Medals young people recognise how they can shape their community.

Thankfully I haven’t lost touch with Hackney Museum and hope to be back to run sessions as the country prepares to commemorate The Great War.  For the moment though I am very settled in Waltham Forest and I’m looking forward to the future.

The Merits of a Narrative Poem

John Kirk specialises in drama workshops and theatre for young people.When I was younger I didn’t think that I liked poetry.  Outside Shakespeare I rarely read verse for pleasure.  Last year though, I was introduced to Alfred Noyes’ “The Highwayman” and it changed my view of poetry completely.  Since then I have been reading other narrative poems including the “The Ballad of the Fleet” (Tennyson) and “The Walrus and the Carpenter” (Carroll) and incorporating them into my work.

A narrative poem tells us a story but it is set out in stanzas with the rhythms and rhyming patterns familiar in other types of poem.  It will contain a skilfully woven story packed with wonderful imagery and metaphors which compels its audience.

In my opinion the narrative poem offers so much that I have even used them in pieces for Birthday Parties!  Here are what I see as the merits of working with narrative poetry.

The narrative poem is perhaps one of the most ancient form of storytelling (The Iliad and Beowulf are both story poems).  As a Drama Facilitator I believe they are a fantastic way of introducing complex text to young audiences which demonstrates the breadth and depth of our literary heritage beyond Shakespeare.

It offers a whole story.  A chapter of a book or a scene from a play wouldn’t offer the beginning middle and end in this way.  If I want to guarantee that a group have heard the material a narrative poem is a concise way of quickly offering an entire story.

The narrative poem will capture the imaginations of boys and girls as it often recalls and romanticises some kind of adventure.

John Kirk is a storyteller and drama facilitator specialising in drama workshops and theatre for young people.Investigating narrative poetry through drama is a lot of fun and once a group has a story they are better positioned to explore the author’s imagery and language choices.  The poems I am talking about were mostly written in the 19th and 20th Century and whilst the language is certainly complex it is not impenetrable.  Accessing it allows young  participants to make their own judgements about themes, events and characters (perhaps physically characterising or hot seating characters about their decisions in the story or making up scenes based upon their deductions).

I have also found that exploring a narrative poem can become a catalyst for exploring rhythm, rhyme and meter and getting groups to write in poetry.

_ _ _ _

“The wind was a rushing train, dodging every tree

The moon was a shiny banana ripe and ready for me.

The road was a lonely wanderer, under an ongoing spell

and Mr Highwayman came riding, riding, riding

Josh Highwayman came riding, up to the Grand Hotel.”

_ _ _ _

“The snow was a breeze of coldness coating the leafy bush,

The sun was a ball of fire, gleaming upon rushing waves

The field was a soft green carpet, over the earthy road

And the Highwayman came skating, skating, skating

The Highwayman came skating up to the big mansion’s door.”

_ _ _ _

As well as getting excited about narrative poetry I have discovered narrative songs.  My taste in story song is eclectic ranging from Benny Hill (The Fastest Milkman in the West) to Charles Daniels (The Devil Went Down to Georgia) and Chris Wood (Hollow Point).  You could easily laugh some narrative songs off as being novelties but constructing an effective narrative within a poem or a song is a great skill.  Tennyson and Noyes might not be matched for their poetry’s beautiful imagery  but Hollow Point particularly is (in my view) a powerful piece of modern verse based storytelling.

Up to now narrative poems have formed the basis of workshops or featured within other work that I have presented but this summer to coincide with The Summer Reading Challenge 2014 I am taking my new found love of the narrative poem to a whole new level as I reinterpret Homer’s “Odyssey” for a young audience.

My final reinterpretation is unlikely to be a narrative poem but one thing is certain – it’s going to be epic!

Special thanks to the children of South Malling Primary School for sharing their “modern” takes on “The Highwayman”.

“The Highwayman” from an Ostler’s Point of View

I also offer a “Highwayman” workshop!!

Highwaymen are often referred to as “Gentlemen of the Road” but they were in fact nothing more than common thieves.  “Stand and Deliver!” (the command rather than the song), was last uttered by a Highwayman in Britain in 1831 but their exploits were (and are) popularly romanticised.  Alfred Noyes’ epic poem chronicles the night time adventures of one such rogue and the Landlord’s daughter, who tragically meet their ends in the cobbled inn yard.  Alfred Noyes’ “The Highwayman” is a brilliant story of love that has been reinterpreted by artists, film makers and musicians around the world.

As part of a workshop exploring Alfred Noyes’ “The Highwayman”, I was challenged to reinterpret the poem for a group of Primary School children.  This video is a part of the result and this blog came about as more and more people watched it online.

PLEASE VISIT 1000 UP! TO VIEW THE VIDEO

Rather than tell the Highwayman’s story I wanted to explore the world of the other characters mentioned in the poem.  I wanted the tone to be quite serious so taking Bess’ perspective was out.  The Landlord and the King’s Guards presented possibilities but the most interesting character seemed to be Tim the Ostler.  In the original poem Tim is mentioned by name but appears in just one stanza:

“And dark in the dark old inn-yard a stable-wicket creaked
Where Tim the ostler listened; his face was white and peaked;
    His eyes were hollows of madness, his hair like mouldy hay,
    But he loved the landlord’s daughter,
The landlord’s red-lipped daughter,
Dumb as a dog he listened, and he heard the robber say—”

Who was this man?  Why was he there?  What was his role in events and what was his story beyond the inn yard?

What follows is the transcript of the above video.  My version is actually longer than this as I introduce the Captain of the Guard and explain what happens to Tim (I reserve those verses for live presentations).

What was most striking for me in Noyes’ poem was his rhythm and rhyming structure.  When I listen to the poem I always think about a horses hooves and I wanted my poem also to respect a regular meter (which it loosely does).  I also love his imagery and try to include some bold similes and metaphors.  Like Noyes I was drawn to his original themes of love, jealousy and violence but I have chosen for Tim the Ostler to recount his bitter betrayal rather than a third party.

 

Tim the Ostler

Now the landlord he has a daughter, whose lips are as red as a fire

Her hair is a perfumed cascade you couldn’t fail to admire

Oh how I longed for this young girl, who goes by the name of Bess

My master’s black eyed daughter

She smiled at me, his daughter

I dreamt that this sweetest lady would someday be my Princess….

I also offer a “Highwayman” workshop!!

Fairy Tale Stepmothers do ‘ave em!

Stone Soup 2Once upon a time the Fairy Tale was born…

The popular Fairy Tale has existed for well over 200 years and typically demonstrate good’s victory over evil.  Good being traditionally described as young, brave, kind, clever and beautiful, evil being old, wicked, corrupt and all too often female.

Witches, Queens, Stepmothers – there are plenty of examples within the genre but is there any common ground between them?

The fairy tale villain is an outsider, standing apart from society.  The Witch is ostracised for her appearance or habits, The Evil Queen is removed by her power and wealth but what of the Wicked Stepmother?  The Stepmother is the antithesis of what we might think of as a stock Mother figure (caring, nurturing, supportive).  Whilst the Witch and Evil Queen often threaten an entire community, the Stepmother represents a challenge to the family unit, her presence creating tension between the children and their Father.

There are several examples of Stepmothers in fairy tales; Hansel and Gretel, Cinderella and Snow White all have to deal with them.  In fact Stepfathers have far less nasty reputations.  This could be because many of the most famous fairy tale writers were men (Hans Christian Andersen, The Brothers Grimm to name but a few).

John Kirk specialises in drama workshops and theatre for young people.In the Stepmother the fairy tale writer has a character with an axe to grind.  The Stepmother has won the heart of her husband and wields power over his children mercilessly (Snow White, Hansel and Gretel are forced out into the forest and Cinderella is used as a slave).  The Stepmother’s motives are broadly similar to that of the Witch or the Evil Queen; jealousy and the lust for power.  Her new child(ren) are more beautiful than she is and they are in the way.  In the family unit, the Stepmother is Queen and her throne must be ruthlessly consolidated.

Of course like all fairy tale villains it will not end well for the Wicked Stepmother.  Her death or banishment will not only be gruesome but in it there will be a valuable moral lesson about love and virtue.  These lessons are highlighted, not by the downfall of the villain, but by the child(ren)’s relationship with their Father.  Throughout the Fairy Tale the Father neglects his responsibility as protector; he is blind to his new wife’s behaviour sometimes going as far as to carry out her dastardly wishes.  In the end he realises who he truly loves and seeks forgiveness.

Perhaps the reason that the Wicked Stepmother endures as a villain can also be found at home.  It’s unlikely that in the 21st Century we will ever meet a Giant or a talking Wolf but each of us understands the role of the Mother.  A Witch may be more mysterious and a Queen may be more powerful but it doesn’t take a flight of fantasy for even the youngest child to recognise the threat a Wicked Stepmother poses.

Wicked WitchIn my Traditional Tales I enjoy playing the wicked characters (even the female ones).  Playing a Witch or a Wicked Stepmother brings life to the story and is the perfect excuse for a wig or a shawl!

It can be very scary for young audience members to come face to face with a truly terrible character in any context (Miss Trunchbull’s School Inspection or The Victorian School Room) so I work hard to assure my audiences that they are safe.  Exposing children to danger, be it a Witch, a Dragon or a Stepmother, in my view, comes with responsibility.  If I am going to present bad characters I must demonstrate their ridiculousness; my audience must see that villains always get their comeuppance and that good will triumph in the end so that we can all live happily ever after.

The Victorian Classroom Experience

John Kirk specialises in drama workshops and theatre for young people.I had just marched out of the hall, my cane tucked under my arm, the children quivering with fear.  In the quiet of the staffroom I reviewed my morning as a Victorian School Master.

The session had come about after I was contacted to provide an authentic Victorian Classroom experience.

About three years ago I was commissioned to write a School Room session for The Bruce Castle in Haringey.  This would be a fabulous opportunity to revisit the piece.

The Bruce Castle School in Tottenham was run by the Hill family during the 19th Century (Rowland Hill gave us the Penny Black).  The school was renowned for its progressive approach to discipline.  Rather than using corporal punishment, The Bruce Castle School introduced a system of points and rewards which was administered by the pupils themselves.  It had many supporters including Charles Dickens who is known to have visited the school.

Unfortunately The Bruce Castle is something of an exception to the rule in the period.  It was only late in the reign of Queen Victoria that education became compulsory and then only for the very young.  Many children found school either voluntarily or via the workhouses.  With sometimes eye watering class sizes order was maintained through fear.

Having reworked the piece to incorporate references to potential punishments I have tried to communicate the importance of the credibility of the session to the school.  If the children don’t buy into the experience then the experience is liable to collapse (he’s not really a teacher/he isn’t really going to cane us etc) 150 years ago it was acceptable to hurl board rubbers at pupil’s heads – 150 years is clearly a very long time!  When I arrive, the school has excelled.  They have a free standing white board and arranged rows of benches in their hall.  There is even a lectern for the register.  With my bell and my cane we have created a pop up Victorian Classroom!

OLYMPUS DIGITAL CAMERAJust before 9.05 I go to get the class.  They are ready.  We head to the hall where the boys and the girls stand in front of separate benches.  The atmosphere is nervous.

“No speaking, Eyes front”.

I register the class, addressing them by surname.  As I stumble through the register I am reminded of how far removed the Victorian world is from the present day.

“Sit down”.

The lesson today is divided into reading, writing and mental arithmetic.  It begins however with physical drill.

Whilst researching for the original piece I discovered that quite often PE would take place in the classroom because the school didn’t have outdoor facilities.  The children would take part in physical drills at their desks!  We often take public parks for granted but at this time open spaces in urban areas must have been truly oases.

Drill over its into learning by repetition.

“Sit up straight!  Eyes front!  No slouching!”

Victims are selected.

“What is 4×5?”

Pressure can make the most intelligent child look very silly.

“What is the superlative in the passage?”

The point of this isn’t simply to intimidate or make a child feel silly.  The point is to demonstrate a method of learning.  This isn’t the learning of compromise this is the learning of fear – my way or the highway.  if a girl hesitates on an answer its also an opportunity to reinforce attitudes towards educating young ladies with a jibe about needlework.

OLYMPUS DIGITAL CAMERAThe lesson moves onto a writing exercise.  Today as substitutes for slates we have portable whiteboards.

“Why are you writing with your left hand?  You will write with your right hand”.

As School Master I maintain an unsympathetic air to the teachers and pupils and the lesson continues in silence.  What rapport there is between class and instructor is cold and dangerously sharp.

“Sit up straight!  Eyes front!  No slouching!”

The lesson concludes with three cheers for Queen Victoria.

Afterwards there is time to discuss the experience with the class.  The feedback on the session is interesting.  Words like “unfair”, “shocking”, “mean” and even “rude” are used.  Comparisons are made (everybody prefers their class teacher to my incarnation!).  There is general relief that I am not the monster of the Victorian classroom.

Sitting in the staffroom I can’t help but smile.  As the children return to their classroom and life gets back to normal there is legacy in their participation.  Undoubtedly this morning’s interaction will provide context to their learning, stimulus for their writing and renewed enthusiasm for their study but you only need to listen to hear them recalling moments from the session to know that this has affected them.

It has been an unforgettable experience.