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">What is it? </a></li><li class="" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../44397/what-types-of-questions-will-be-asked.html" title="What types of questions will be asked?">What types of questions will be asked?</a></li><li class="" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../44398/how-am-i-graded.html" title="How am I graded?">How am I graded?</a></li><li class=" parent" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../44399/can-i-read-an-example-.html" title="Can I read an example? ">Can I read an example? </a></li><ul class="level-4 "><li class="" style="padding-left: 56px"><i class="expander fa fa-caret-right "></i><a class="" href="../44400/paper-2-sample-response-1-never-let-me-go-and-extremely-loud-and.html" title="Paper 2: Sample Response 1 (Never Let Me Go and Extremely Loud and Incredibly Close)">Paper 2: Sample Response 1 (Never Let Me Go and Extremely Loud and Incredibly Close)</a></li><li class="" style="padding-left: 56px"><i class="expander fa fa-caret-right "></i><a class="" href="../44401/paper-2-sample-response-2-the-reader-and-the-god-of-small-things.html" title="Paper 2: Sample Response 2 (The Reader and The God of Small Things) ">Paper 2: Sample Response 2 (The Reader and The God of Small Things) </a></li><li class="" style="padding-left: 56px"><i class="expander fa fa-caret-right "></i><a class="" href="../44402/paper-2-sample-response-3-a-dolls-house-and-the-crucible-.html" title="Paper 2: Sample Response 3 (A Doll’s House and The Crucible) ">Paper 2: Sample Response 3 (A Doll’s House and The Crucible) </a></li></ul><li class="" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../44403/do-you-have-a-step-by-step-process-for-what-to-do-in-the-actual-.html" title="Do you have a step-by-step process for what to do in the actual exam? ">Do you have a step-by-step process for what to do in the actual exam? </a></li><li class="" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../44404/how-do-i-prepare-for-my-paper-2-exam-.html" title="How do I prepare for my Paper 2 exam? ">How do I prepare for my Paper 2 exam? </a></li><li class="" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../44405/how-do-i-organize-my-paper-2-.html" title="How do I organize my Paper 2? 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">What is it? </a></li><li class="" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../40158/what-is-a-line-of-inquiry.html" title="What is a line of inquiry?">What is a line of inquiry?</a></li><li class="" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../40160/how-am-i-graded.html" title="How am I graded?">How am I graded?</a></li><li class=" parent" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../40162/can-i-read-an-example-.html" title="Can I read an example? ">Can I read an example? </a></li><ul class="level-4 "><li class="" style="padding-left: 56px"><i class="expander fa fa-caret-right "></i><a class="" href="../40152/model-example-1-szymborska-poetry-.html" title="Model example 1 (Szymborska Poetry) ">Model example 1 (Szymborska Poetry) </a></li><li class="" style="padding-left: 56px"><i class="expander fa fa-caret-right "></i><a class="" href="../40154/model-example-2-george-monbiot.html" title="Model example 2 (George Monbiot)">Model example 2 (George Monbiot)</a></li><li class="" style="padding-left: 56px"><i class="expander fa fa-caret-right "></i><a class="" href="../40153/model-example-3-white-noise-.html" title="Model example 3 (White Noise) ">Model example 3 (White Noise) </a></li></ul><li class="" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../40240/can-you-help-me-with-the-entire-process.html" title="Can you help me with the entire process?">Can you help me with the entire process?</a></li><li class="" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../40242/do-you-have-a-checklist-to-help-me-out.html" title="Do you have a checklist to help me out?">Do you have a checklist to help me out?</a></li></ul></ul><li class=" parent" style="padding-left: 14px"><i class="expander fa fa-caret-right "></i><a class="" href="../46964/learner-portfolio-.html" title="Learner Portfolio ">Learner Portfolio </a></li><ul class="level-2 "><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../46965/more-about-the-learner-portfolio.html" title="More about the Learner Portfolio">More about the Learner Portfolio</a></li></ul></ul><li class=" parent std-toplevel" style="padding-left: 4px"><i class="expander fa fa-caret-right "></i><a class="" href="../28558/the-course-.html" title="The course ">The course </a></li><ul class="level-1 "><li class="" style="padding-left: 14px"><i 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Portfolio">Formatting the Learner Portfolio</a></li></ul><li class="" style="padding-left: 14px"><i class="expander fa fa-caret-right "></i><a class="" href="../28560/principles-of-course-design.html" title="Principles of course design">Principles of course design</a></li><li class=" parent" style="padding-left: 14px"><i class="expander fa fa-caret-right "></i><a class="" href="../29983/bodies-of-work.html" title="Bodies of work">Bodies of work</a></li><ul class="level-2 "><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../37316/bodies-of-work-a-curated-list.html" title="Bodies of Work - A Curated List">Bodies of Work - A Curated List</a></li></ul></ul><li class=" parent std-toplevel" style="padding-left: 4px"><i class="expander fa fa-caret-right "></i><a class="" href="../28566/areas-of-exploration-.html" title="Areas of exploration ">Areas of exploration </a></li><ul class="level-1 "><li class=" parent" style="padding-left: 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title="Teaching resources">Teaching resources</a></li></ul></ul><li class=" parent std-toplevel" style="padding-left: 4px"><i class="expander fa fa-caret-right "></i><a class="" href="../28567/concepts-.html" title="Concepts ">Concepts </a></li><ul class="level-1 "><li class=" parent" style="padding-left: 14px"><i class="expander fa fa-caret-right "></i><a class="" href="../28571/identity.html" title="Identity">Identity</a></li><ul class="level-2 "><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../29029/teaching-resources.html" title="Teaching resources">Teaching resources</a></li></ul><li class="" style="padding-left: 14px"><i class="expander fa fa-caret-right "></i><a class="" href="../28572/culture.html" title="Culture">Culture</a></li><li class="" style="padding-left: 14px"><i class="expander fa fa-caret-right "></i><a class="" href="../28573/creativity.html" title="Creativity">Creativity</a></li><li class=" parent" style="padding-left: 14px"><i class="expander fa fa-caret-right "></i><a class="" href="../28574/communication.html" title="Communication">Communication</a></li><ul class="level-2 "><li class=" parent" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="std-disabled" href="#" title="Teaching resources">Teaching resources</a></li><ul class="level-3 "><li class="" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../31252/metoo-gender-and-power-.html" title="#MeToo - Gender and Power ">#MeToo - Gender and Power </a></li><li class="" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../31255/fake-news-.html" title="Fake News ">Fake News </a></li></ul></ul><li class=" parent" style="padding-left: 14px"><i class="expander fa fa-caret-right "></i><a class="" href="../28575/perspective.html" title="Perspective">Perspective</a></li><ul class="level-2 "><li class=" parent" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="std-disabled" href="#" title="Teaching resources">Teaching resources</a></li><ul class="level-3 "><li class="" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../31253/metoo-gender-and-power-.html" title="#MeToo - Gender and Power ">#MeToo - Gender and Power </a></li><li class="" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../31734/exploring-the-natural-world-an-opinion-columnists-body-of-work-.html" title="Exploring the Natural World – An Opinion Columnist’s Body of Work ">Exploring the Natural World – An Opinion Columnist’s Body of Work </a></li></ul></ul><li class=" parent" style="padding-left: 14px"><i class="expander fa fa-caret-right "></i><a class="" href="../28576/transformation.html" title="Transformation">Transformation</a></li><ul class="level-2 "><li class=" parent" style="padding-left: 28px"><i class="expander 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style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30239/tips-.html" title="Tips ">Tips </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30222/criteria-.html" title="Criteria ">Criteria </a></li><li class=" parent" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30240/skills-.html" title="Skills ">Skills </a></li><ul class="level-3 "><li class="" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../30243/8-writing-tips-.html" title="8 writing tips ">8 writing tips </a></li></ul><li class=" parent" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="std-disabled" href="#" title="P1 sample work">P1 sample work</a></li><ul class="level-3 "><li class="" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../../task/523953.html" title="May 2022 Paper 1s">May 2022 Paper 1s</a></li><li class="" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../../task/523976.html" title="November 2021 Paper 1s">November 2021 Paper 1s</a></li><li class=" parent" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="std-disabled" href="#" title="Pre-2021 Paper 1s">Pre-2021 Paper 1s</a></li><ul class="level-4 "><li class="" style="padding-left: 56px"><i class="expander fa fa-caret-right "></i><a class="" href="../37572/paper-1-sample-response-8-mens-health-iii.html" title="Paper 1: Sample Response 8 (Men's Health iii)">Paper 1: Sample Response 8 (Men's Health iii)</a></li><li class="" style="padding-left: 56px"><i class="expander fa fa-caret-right "></i><a class="" href="../37338/paper-1-sample-response-9-justin-gatlin.html" title="Paper 1: Sample Response 9 (Justin Gatlin)">Paper 1: Sample Response 9 (Justin Gatlin)</a></li><li class="" style="padding-left: 56px"><i 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56px"><i class="expander fa fa-caret-right "></i><a class="" href="../../task/523983.html" title="Paper 1: Sample Response 14 (Aspen Trees)">Paper 1: Sample Response 14 (Aspen Trees)</a></li></ul></ul><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30237/paper-1-practice-texts-to-go-.html" title="Paper 1: Practice Texts to Go ">Paper 1: Practice Texts to Go </a></li></ul><li class=" parent" style="padding-left: 14px"><i class="expander fa fa-caret-right "></i><a class="" href="../28592/paper-2.html" title="Paper 2">Paper 2</a></li><ul class="level-2 "><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30255/tips-.html" title="Tips ">Tips </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30270/criteria-.html" title="Criteria ">Criteria </a></li><li class=" parent" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30256/skills-.html" title="Skills ">Skills </a></li><ul class="level-3 "><li class="" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../31697/revising-literary-works-for-paper-2.html" title="Revising Literary Works for Paper 2">Revising Literary Works for Paper 2</a></li><li class="" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../30792/connecting-comparing-and-contrasting-in-paper-2.html" title="Connecting, Comparing and Contrasting in Paper 2">Connecting, Comparing and Contrasting in Paper 2</a></li></ul><li class=" parent" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../46727/resources-for-students.html" title="Resources for Students">Resources for Students</a></li><ul class="level-3 "><li class="" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../46723/preparing-for-paper-2.html" title="Preparing for Paper 2">Preparing for Paper 2</a></li><li class="" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../46724/organizing-and-structuring-paper-2.html" title="Organizing and Structuring Paper 2">Organizing and Structuring Paper 2</a></li><li class="" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../46722/step-by-step-paper-2-process.html" title="Step-by-Step Paper 2 Process">Step-by-Step Paper 2 Process</a></li></ul><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../28602/p2-sample-work.html" title="P2 sample work">P2 sample work</a></li></ul><li class=" parent" style="padding-left: 14px"><i class="expander fa fa-caret-right "></i><a class="" href="../28593/higher-level-essay.html" title="Higher level essay">Higher level essay</a></li><ul class="level-2 "><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30557/tips.html" title="Tips">Tips</a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30273/criteria-.html" title="Criteria ">Criteria </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30272/skills-.html" title="Skills ">Skills </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../28606/hle-sample-work.html" title="HLE sample work">HLE sample work</a></li></ul><li class=" parent" style="padding-left: 14px"><i class="expander fa fa-caret-right "></i><a class="" href="../28594/individual-oral.html" title="Individual oral">Individual oral</a></li><ul class="level-2 "><li class=" parent" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../36433/resources.html" title="Resources">Resources</a></li><ul class="level-3 "><li class="" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../34550/introducing-the-individual-oral-to-students-a-powerpoint.html" title="Introducing the Individual Oral to Students (a PowerPoint)">Introducing the Individual Oral to Students (a PowerPoint)</a></li><li class="" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../36435/stages-of-support.html" title="Stages of Support">Stages of Support</a></li><li class="" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../32623/possible-outlines.html" title="Possible Outlines">Possible Outlines</a></li><li class="" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../36434/how-to-prepare-for-your-individual-oral.html" title="How to Prepare for Your Individual Oral">How to Prepare for Your Individual Oral</a></li></ul><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30559/global-issues.html" title="Global issues">Global issues</a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30558/criteria-.html" title="Criteria ">Criteria </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30271/skills-.html" title="Skills ">Skills </a></li><li class=" parent" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../28610/io-sample-work.html" title="IO sample work">IO sample work</a></li><ul class="level-3 "><li class=" parent" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="std-disabled" href="#" title="2021 Individual Orals">2021 Individual Orals</a></li><ul class="level-4 "><li class="" style="padding-left: 56px"><i class="expander fa fa-caret-right "></i><a class="" href="../40184/2021-individual-oral-exemplar-1-brave-new-world-and-sara-rahbar.html" title="2021 Individual Oral: Exemplar 1 (Brave New World and Sara Rahbar)">2021 Individual Oral: Exemplar 1 (Brave New World and Sara Rahbar)</a></li></ul><li class=" parent" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="std-disabled" href="#" title="Pre-2021 Individual Orals">Pre-2021 Individual Orals</a></li><ul class="level-4 "><li class="" style="padding-left: 56px"><i class="expander fa fa-caret-right "></i><a class="" href="../36777/individual-oral-exemplar-4-macbeth-and-ww1-propaganda-poster.html" title="Individual Oral: Exemplar 4 (Macbeth and WW1 Propaganda Poster)">Individual Oral: Exemplar 4 (Macbeth and WW1 Propaganda Poster)</a></li></ul></ul></ul></ul><li class=" parent std-toplevel" style="padding-left: 4px"><i class="expander fa fa-caret-right "></i><a class="" href="../28556/resources-.html" title="Resources ">Resources </a></li><ul class="level-1 "><li class=" parent" style="padding-left: 14px"><i class="expander fa fa-caret-right "></i><a class="" href="../30276/glossary-of-key-terms-for-language-and-literature.html" title="Glossary of Key Terms for Language and Literature">Glossary of Key Terms for Language and Literature</a></li><ul class="level-2 "><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30277/-accent.html" title="- Accent">- Accent</a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30278/-actual-reader.html" title="- Actual reader">- Actual reader</a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30279/-actual-writer-.html" title="- Actual writer ">- Actual writer </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30353/-adjective-.html" title="- Adjective ">- Adjective </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30448/-adverb.html" title="- Adverb">- Adverb</a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30449/-alliteration.html" title="- Alliteration">- Alliteration</a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30451/-allusion.html" title="- Allusion">- Allusion</a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30452/-analogy.html" title="- Analogy">- Analogy</a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30454/-anti-advertising-.html" title="- Anti-advertising ">- Anti-advertising </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30455/-antithesis-.html" title="- Antithesis ">- Antithesis </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30457/-appeal-to-authority-.html" title="- Appeal to authority ">- Appeal to authority </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30459/-appeal-to-fear.html" title="- Appeal to fear">- Appeal to fear</a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30460/-audience.html" title="- Audience">- Audience</a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30462/-bandwagon-effect.html" title="- Bandwagon effect">- Bandwagon effect</a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30463/-bias-.html" title="- Bias ">- Bias </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30464/-cacophony-.html" title="- Cacophony ">- Cacophony </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30466/-caesura-.html" title="- Caesura ">- Caesura </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30467/-characterisation-.html" title="- Characterisation ">- Characterisation </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30469/-clause-.html" title="- Clause ">- Clause </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30470/-cliche-cliche-.html" title="- Cliché (cliche) ">- Cliché (cliche) </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30471/-coherence.html" title="- Coherence">- Coherence</a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30472/-colloquialism.html" title="- Colloquialism">- Colloquialism</a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30473/-complex-sentence-.html" title="- Complex sentence ">- Complex sentence </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30475/-conflict-in-advertising-.html" title="- Conflict in advertising ">- Conflict in advertising </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30483/-conjunctions-.html" title="- Conjunctions ">- Conjunctions </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30484/-connotation-.html" title="- Connotation ">- Connotation </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30476/-context-of-production-.html" title="- Context of production ">- Context of production </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30477/-context-of-reception-.html" title="- Context of reception ">- Context of reception </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30478/-core-vocabulary-.html" title="- Core vocabulary ">- Core vocabulary </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30479/-couplet-.html" title="- Couplet ">- Couplet </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30485/-crowdsourcing-.html" title="- Crowdsourcing ">- Crowdsourcing </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30481/-deictic-.html" title="- Deictic ">- Deictic </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30486/-denotation-.html" title="- Denotation ">- Denotation </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30487/-denouement-.html" title="- Denouement ">- Denouement </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30488/-dialect-.html" title="- Dialect ">- Dialect </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30489/-diatribe-.html" title="- Diatribe ">- Diatribe </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30490/-direct-narration-.html" title="- Direct narration ">- Direct narration </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30492/-direct-speech-.html" title="- Direct speech ">- Direct speech </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30493/-dramatic-irony.html" title="- Dramatic Irony">- Dramatic Irony</a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30515/-ellipsis.html" title="- Ellipsis">- Ellipsis</a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30516/-end-stopped-line-.html" title="- End-stopped line ">- End-stopped line </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30517/-enjambement-.html" title="- Enjambement ">- Enjambement </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30518/-eponymous-.html" title="- Eponymous ">- Eponymous </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30519/-equivocation-.html" title="- Equivocation ">- Equivocation </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30520/-ethos-.html" title="- Ethos ">- Ethos </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30521/-euphemism.html" title="- Euphemism">- Euphemism</a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30522/-first-person-point-of-view-.html" title="- First-person point-of-view ">- First-person point-of-view </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30523/-formalism.html" title="- Formalism">- Formalism</a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30524/-free-indirect-speech-.html" title="- Free indirect speech ">- Free indirect speech </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30527/-free-verse-.html" title="- Free verse ">- Free verse </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30525/-function-.html" title="- Function ">- Function </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30528/-gatekeeper-.html" title="- Gatekeeper ">- Gatekeeper </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30530/-generalizations-.html" title="- Generalizations ">- Generalizations </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30531/-genre-.html" title="- Genre ">- Genre </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30532/-graphology-.html" title="- Graphology ">- Graphology </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30533/-haiku-.html" title="- Haiku ">- Haiku </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30534/-hyperbole-.html" title="- Hyperbole ">- Hyperbole </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30535/-idiolect-.html" title="- Idiolect ">- Idiolect </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30536/-imagery-.html" title="- Imagery ">- Imagery </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30537/-indirect-narration-.html" title="- Indirect narration ">- Indirect narration </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30538/-intertextuality-.html" title="- Intertextuality ">- Intertextuality </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30539/-irony-.html" title="- Irony ">- Irony </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30540/-jargon-.html" title="- Jargon ">- Jargon </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30541/-juxtaposition-.html" title="- Juxtaposition ">- Juxtaposition </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30542/-language-.html" title="- Language ">- Language </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30543/-logos-.html" title="- Logos ">- Logos </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30544/-long-tail-marketing-.html" title="- Long tail marketing ">- Long tail marketing </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30545/-mash-up-.html" title="- Mash up ">- Mash up </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30546/-metaphor-.html" title="- Metaphor ">- Metaphor </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30548/-metonymy-.html" title="- Metonymy ">- Metonymy </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30549/-modality-.html" title="- Modality ">- Modality </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30550/-multivocal-.html" title="- Multivocal ">- Multivocal </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30551/-newsworthiness-.html" title="- Newsworthiness ">- Newsworthiness </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30552/-nominalisation-.html" title="- Nominalisation ">- Nominalisation </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30553/-notifications-.html" title="- Notifications ">- Notifications </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30554/-noun-phrase-.html" title="- Noun Phrase ">- Noun Phrase </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30555/-onomatopoeia.html" title="- Onomatopoeia">- Onomatopoeia</a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30560/-paralanguage-.html" title="- Paralanguage ">- Paralanguage </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30561/-pathos-.html" title="- Pathos ">- Pathos </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30562/-pay-per-click-.html" title="- Pay-per-click ">- Pay-per-click </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30563/-personalization-.html" title="- Personalization ">- Personalization </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30564/-personification-.html" title="- Personification ">- Personification </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30565/-phonlogical-.html" title="- Phonlogical ">- Phonlogical </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30566/-phrase.html" title="- Phrase">- Phrase</a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30567/-problem-solution-technique-.html" title="- Problem / solution technique ">- Problem / solution technique </a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30574/-pun.html" title="- Pun">- Pun</a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30579/-reported-speech.html" title="- Reported speech">- Reported speech</a></li><li class="" style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../30583/-sensationalism-.html" title="- Sensationalism ">- Sensationalism </a></li><li class="" 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style="padding-left: 56px"><i class="expander fa fa-caret-right "></i><a class="" href="../16109/wt-sl-hinglish.html" title="WT SL (Hinglish)">WT SL (Hinglish)</a></li><li class="" style="padding-left: 56px"><i class="expander fa fa-caret-right "></i><a class="" href="../22572/wt-sl-nineteen-eighty-four.html" title="WT SL (Nineteen Eighty-Four)">WT SL (Nineteen Eighty-Four)</a></li><li class="" style="padding-left: 56px"><i class="expander fa fa-caret-right "></i><a class="" href="../15508/wt-sl-s1-the-bell-jar.html" title="WT SL S1 (The Bell Jar)">WT SL S1 (The Bell Jar)</a></li><li class="" style="padding-left: 56px"><i class="expander fa fa-caret-right "></i><a class="" href="../9443/wt1-hl-s1-mandela.html" title="WT1 HL S1 (Mandela)">WT1 HL S1 (Mandela)</a></li><li class="" style="padding-left: 56px"><i class="expander fa fa-caret-right "></i><a class="" href="../8699/wt1-hl-s2-collector.html" title="WT1 HL S2 (Collector)">WT1 HL S2 (Collector)</a></li><li class="" 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style="padding-left: 56px"><i class="expander fa fa-caret-right "></i><a class="" href="../11979/wt2-q3-starkey.html" title="WT2 Q3 (Starkey)">WT2 Q3 (Starkey)</a></li><li class="" style="padding-left: 56px"><i class="expander fa fa-caret-right "></i><a class="" href="../19663/wt2-q3-womens-health.html" title="WT2 Q3 (Women's Health)">WT2 Q3 (Women's Health)</a></li><li class="" style="padding-left: 56px"><i class="expander fa fa-caret-right "></i><a class="" href="../14009/wt2-q4-clockwork.html" title="WT2 Q4 (Clockwork)">WT2 Q4 (Clockwork)</a></li><li class="" style="padding-left: 56px"><i class="expander fa fa-caret-right "></i><a class="" href="../13783/wt2-q4-persepolis.html" title="WT2 Q4 (Persepolis)">WT2 Q4 (Persepolis)</a></li><li class="" style="padding-left: 56px"><i class="expander fa fa-caret-right "></i><a class="" href="../11636/wt2-q5-aclu.html" title="WT2 Q5 (ACLU)">WT2 Q5 (ACLU)</a></li><li class="" style="padding-left: 56px"><i class="expander fa fa-caret-right 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style="padding-left: 28px"><i class="expander fa fa-caret-right "></i><a class="" href="../2537/individual-oral-commentary.html" title="Individual oral commentary">Individual oral commentary</a></li><ul class="level-3 "><li class=" parent" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../2891/tips.html" title="Tips">Tips</a></li><ul class="level-4 "><li class="" style="padding-left: 56px"><i class="expander fa fa-caret-right "></i><a class="" href="../19075/using-technology-to-support-student-learning.html" title="Using Technology to Support Student Learning">Using Technology to Support Student Learning</a></li></ul><li class="" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../10033/criteria.html" title="Criteria">Criteria</a></li><li class=" parent" style="padding-left: 42px"><i class="expander fa fa-caret-right "></i><a class="" href="../11211/skills.html" title="Skills">Skills</a></li><ul 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<div id="main-column" class="span9"> <article id="introducing-literature-in-context-a-summer-activity" style="margin-top: 16px;">
<h1 class="section-title">Introducing Literature in Context: A Summer Activity</h1>
<ul class="breadcrumb"><li><a title="Home" href="../../../englishalanglit.html"><i class="fa fa-home"></i></a><span class="divider">/</span></li><li><span class="gray">The old course </span><span class="divider">/</span></li><li><span class="gray">Part 3 (2020 exams)</span><span class="divider">/</span></li><li><span class="gray">Key concepts</span><span class="divider">/</span></li><li><span class="active">Introducing Literature in Context: A Summer Activity</span></li></ul>
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<p>
<img alt="" class="right" src="../../../ib/englishalanglit/files/Windrush.jpg" style="height:160px; width:265px">The following scheme of work is designed to introduce students to reading literature in context. The lessons have been designed to prepare students for their study of English Language and Literature. What follows is informed by many of the aims of the Language and Literature course. Not least, the 7th aim, to promote in students an enjoyment of, and lifelong interest in, language and literature, is a significant consideration that guides the lessons. It is intended that initial preparatory work is completed in the summer prior to the beginning of the academic year. However, the lesson ideas can, of course, be modified and/or extended by teachers to match their own circumstances.</p>
<p>
The scheme of work involves students reading Black British literature, with a particular focus on poetry, in the context of the historical period 1948 - 1998. This historical period of 50 years coincides with the arrival of the MV Empire Windrush at the port of Tilbury in England in June 1948 through to the beginning of the 21st century. It is often claimed that the Empire Windrush, with almost 500 passengers, started a period of mass migration from the Caribbean to the United Kingdom.</p>
<p>
Students watch a series of 4 award-winning documentary films released by the BBC in 1998. The films move in chronological sequence, from the arrival of the Windrush towards the new millenium, and include discussion and footage of significant historical events, including the New Cross fire, the Brixton Riots, and the murder of Stephen Lawrence. This initial work, intended to be completed in the summer before the academic year, provides students with the contexts - historical, social, cultural, political, and economic - that will inform their subsequent study of Black poetry. The documentaries are both informative and entertaining, and much of the corresponding poetry requires an awareness of historical events to be fully understood.</p>
<p>
The work that follows was written by David McIntyre and Cassandra Magar at the United World College of South East Asia in May 2014.</p>
<h2>
Contextualising</h2>
<p>
Before departing for the summer break, it is useful to provide some inital contextualisation to prepare students for the work that follows. A short discussion of the following 2 extracts, an academic text written by Stuart Hall, and the text of a calypso song, 'London is the Place for Me', made famous by Lord Kitchener, may be used to introduce students to key themes and ideas. Hall pithily expresses the idea that British history is intimately intertwined with its history of colonial expansion, and that understanding British identity requires an awareness of 'others', including Caribbean migrants whose story is frequently ignored in conventional historical accounts. Lord Kitchner was a passenger on the Empire Windrush. Appearing in the documentary series, he expresses an initial optimism felt by some of the immigrants onboard the Windrush. However, as the documentary films reveal, much of this optimism quickly atrophies.</p>
<div class="yellowBg">
<p>
<a href="/media/ib/englishalanglit/Stuart%20Hall%201991.pdf"><img class="ico" src="../../../thinkib/icons/exercise.png"> Stuart Hall on British history</a></p>
<p>
<img class="ico" src="/r/b1.png">People like me who came to England in the 1950s have been there for centuries; symbolically, we have been there for centuries. I was coming home. I am the sugar at the bottom of the English cup of tea. I am the sweet tooth, the sugar plantations that rotted generations of English children's teeth. There are thousands of others beside me that are, you know, the cup of tea itself. Because they don't grow it in Lancashire, you know. Not a single tea plantation exists within the United Kingdom. This is the symbolization of English identity – I mean, what does anybody in the world know about an English person except that they can't get through the day without a cup of tea? Where does it come from? Ceylon - Sri Lanka, India. That is the outside history that is inside the history of the English. There is no English history without that other history'.</p>
<p>
‘Old and New Identities, Old and New Ethnicities’, Stuart Hall, 1991.<img class="ico" src="/r/b2.png"></p>
<div class="tib-hiddenbox">
</div>
<p>
<a href="/media/ib/englishalanglit/files/London%20is%20the%20Place%20for%20Me%201948.pdf"><img class="ico" src="../../../thinkib/icons/exercise.png"> 'London is the Place for Me' (1948), Lord Kitchener</a></p>
<p>
<img class="ico" src="/r/b1.png"><strong>London is the Place for Me </strong>(1948) Lord Kitchener</p>
<p>
London is the place for me, London that lovely city</p>
<p>
You can go to France or America, India, Asia or Africa.</p>
<p>
But you must come back to London city.</p>
<p>
I said, you must come back to London city.</p>
<p>
You can go to France or America, India, Asia or Africa.</p>
<p>
But you must come back to London city.</p>
<p>
London is the place for me, London that lovely city</p>
<p>
You can go to France or America, India, Asia or Africa.</p>
<p>
But you must come back to London city.</p>
<p>
London, that lovely city.</p>
<p>
You can go to France or America, India, Asia or Africa.</p>
<p>
But you must come back to London city.<img class="ico" src="/r/b2.png"></p>
<div class="tib-hiddenbox">
</div>
<p>
<a href="/media/ib/englishalanglit/files/Keynote%20Questions.pdf"><img class="ico" src="../../../thinkib/icons/exercise.png"> Keynote Questions for Stuart Hall and Lord Kitchener</a></p>
<p>
<img class="ico" src="/r/b1.png">Read the following two keynotes which introduce you to your study of Windrush and your study of Black British poetry – a study of Literature in social and historical context.</p>
<p style="margin-bottom: 0px; ">
Read Stuart Hall’s paragraph. Hall (1932 - 2014) was a Jamaican-British academic. What does Hall suggest about the nature of (telling) British history?</p>
<p style="margin-bottom: 0px; ">
</p>
Now read the text of ‘London is the Place for Me’. This is a calypso song, made famous by Lord Kitchener, a passenger on the Empire Windrush, a ship that brought passengers from the Caribbean, and is said to mark the beginning of large-scale immigration from the West Indies to England. What is the mood expressed in the song?<br>
<p>
<img class="ico" src="/r/b2.png"></p>
</div>
<h2>
Summer Task 1: Researching the British Empire</h2>
<p>
Prior to watching the documentary film series, students are asked to do some provisional research on Imperialism and the history of the British Empire. This helps contextualise the reasons for the arrival of the Empire Windrush and subsequent immigration. The following one-page worksheet directs students in their research</p>
<div class="yellowBg">
<p>
<a href="/media/ib/englishalanglit/files/Researching%20the%20British%20Empire.pdf"><img class="ico" src="../../../thinkib/icons/exercise.png"> Researching the British Empire</a></p>
<p>
<img class="ico" src="/r/b1.png"><strong>Researching the British Empire.</strong></p>
<p>
When King George V came to the thrown of the United Kingdom in 1910, he also became the ruler of the British Empire. You may wish to reflect that 1910 is only slightly more than 100 years ago. At this time, George V assumed rule over 11.5 million square miles of land spread over every continent on the planet. That’s one-fifth of the land surface of the world. King George V, then, was the ruler of some 410 million people.</p>
<p>
The reasons for Empire are many, complex, and contentious. The objectives of Empire were several, and include economic, political, and moral and religious reasons. Of course, not everyone considered Empire a good thing, both in the colonized countries and in Britain itself.</p>
<p>
Please do a little historical research. Some Internet sites have been suggested. You may look elsewhere on the Internet, and if you have access to a library consider looking for books and other articles on the British Empire. Some books are suggested below which may extend your interest and understanding.</p>
<p>
As you research, consider the following:</p>
<p>
- What was the period of the British Empire? To what extent does Britain’s Empire continue to exist today?</p>
<p>
- Where was the British Empire? What countries and territories were parts of the Empire?</p>
<p>
- What were the objectives of Empire?</p>
<p>
- What were the problems of Empire?</p>
<p>
<strong>Suggested Sites </strong>(correct at May 2014):</p>
<p>
<a href="http://www.britishempire.co.uk">The British Empire</a></p>
<p>
<a href="http://www.colonialfilm.org.uk">Colonial Film</a></p>
<p>
<a href="http://www.atlasofbritempire.com">Historical Atlas of Empire</a></p>
<p>
<strong>Suggested Books</strong></p>
<p>
<a href="http://www.amazon.com/British-Empire-Short-Introduction-Introductions-ebook/dp/B00CYH45HG/ref=sr_1_1?ie=UTF8&qid=1401240883&sr=8-1&keywords=british+empire+short+introduction"><em>The British Empire: A Very Short Introduction </em></a>by Ashley Jackson</p>
<p>
<a href="http://www.amazon.com/Rise-Fall-British-Empire-ebook/dp/B00CBFZUVQ/ref=sr_1_1?ie=UTF8&qid=1401240939&sr=8-1&keywords=rise+and+fall+british+empire"><em>Rise and Fall of the British Empire </em></a>by Lawrence James</p>
<p>
<a href="http://empire britain niall ferguson"><em>Empire: How Britain Made the Modern World </em></a>by Niall Ferguson<img class="ico" src="/r/b2.png"></p>
</div>
<h2>
Summer Task 2: Watching and Responding to Windrush</h2>
<p>
Students should watch the four documentary films that form the BBC's Windrush series. They are asked to respond to the questions in the following worksheet. The worksheet includes a list of recommended further reading. Most, although not all, authors included in the list are British Black writers with Caribbean origins. Teachers may extend or modify this list as required. As a suggestion, teachers may organise a <a href="http://alexiswiggins.pbworks.com/w/page/57830797/Alexis%20Wiggins%27s%20Wiki">spider discussion</a> (click on link) on students' return to school. This method of discussion provides considerable autonomy for students, and affords a dynamic opportunity for students to reveal their understanding of their research and summer reading and viewing. Students own notes are the basis for discussion.</p>
<div class="yellowBg">
<p>
<a href="/media/ib/englishalanglit/files/Viewing%20Prompts.pdf"><img class="ico" src="../../../thinkib/icons/exercise.png"> Viewing Prompts and Suggested Further Reading</a></p>
<p>
<img class="ico" src="/r/b1.png">Dear students,</p>
<p>
The aim for the IB Language and Literature course is to consider both texts <em>and</em> contexts - the social, historical, critical and artistic conditions in which texts are produced and received. Studies in Language and Literature extend beyond conventional literary genres to include manytext types, including non-fiction writings, graphic works and films. Thus, for your introduction to the course, you will be viewing <em>Windrush, </em>a series of four BBC documentaries that trace the arrival and experiences of post-war West Indian immigrants to London between1948 – 1998.</p>
<p>
As you view each documentary, consider the following questions to help guide your viewing. Please come to the first lesson prepared to discuss your notes and any questions that arise out of your viewing of the documentaries.</p>
<p>
Link to the documentaries:</p>
<p>
<a href="http://www.youtube.com/watch?v=MbNH4JBQiSY">1. Arrival</a></p>
<p>
<a href="http://www.youtube.com/watch?v=dF3VvlBtfiE">2. Intolerance</a></p>
<p>
<a href="http://www.youtube.com/watch?v=hGu5e_VWPWk">3. A New Generation</a></p>
<p>
<a href="http://www.youtube.com/watch?v=wPRvbJRzfcc">4. A Very British Story</a></p>
<p>
<strong>Guided Questions</strong></p>
<p>
Documentary one</p>
<p style="margin-left: 36pt; ">
· For what reasons did West Indians immigrate to London in 1948?</p>
<p style="margin-left: 36pt; ">
· What preconceptions of English life did West Indian immigrants have prior to their arrival in 1948? How did their perspective change upon arrival to London and other English cities?</p>
<p style="margin-left: 36pt; ">
· What challenges—particularly in housing and employment—did immigrants face?</p>
<p style="margin-left: 36pt; ">
</p>
<p>
Documentary two</p>
<p style="margin-left: 36pt; ">
· What attitudes towards immigrants developed during this time period? How did immigrants respond to these attitudes?</p>
<p style="margin-left: 36pt; ">
</p>
<p>
Documentary three</p>
<p style="margin-left: 36pt; ">
· What key events marked this time period? How did Black and White Britons respond differently to such events?</p>
<p style="margin-left: 36pt; ">
· How did attitudes of second generation immigrants differ to that of their parents (those who had arrived on the <em>Empire Windrush </em>in 1948 and thereafter throughout the 1950s and 60s)?</p>
<p>
Documentary four</p>
<p style="margin-left: 36pt; ">
· How does the documentary suggest that circumstances of Black Britons changed (or not) since 1948?</p>
<p style="margin-left: 36pt; ">
· Reflect on your viewing of the series <em>Windrush. </em>Consider what (if anything), you knew about West Indian immigration to London prior to your viewing of the series, what you have learned and what texts and contexts you would like to explore in order to learn more. Finally, consider: To what extent do you believe attitudes towards immigrants of previously colonized countries have changed since the 1950s? Since 2000? What connections,<strong>outside of the documentary</strong>, can you make to topics such as immigration, racism and multiculturalism?</p>
<p>
<strong>Recommended Further Reading:</strong></p>
<p>
<em>To Sir With Love</em>; <em>Paid Servant</em> - E.R. Braithwaite</p>
<p>
<em>The Lonely Londoners; Moses Ascending</em>- Sam Selvon</p>
<p>
<em>The Final Passage; Colour me English </em>- Caryl Phillips</p>
<p>
<em>White Teeth </em>- Zadie Smith</p>
<p>
<em>Small Island</em>- Andrea Levy</p>
<p>
<em>Black Teacher</em>- Beryl Gilroy</p>
<p>
<em>Dear Future </em>- Fred D'Aguiar</p>
<p>
<em>The Intended </em>- David Babydeen</p>
<p>
<em>Refugee Boy</em>- Benjamin Zephaniah</p>
<p>
<em>In the Ditch; Second Class Citizen</em>- Buchi Emecheta</p>
<p>
<em>Some Kind of Black; My Once Upon A Time</em>- Diran Adebayo<img class="ico" src="/r/b2.png"></p>
</div>
<h2>
Documentary 1: Arrival</h2>
<p>
<iframe allowfullscreen="" frameborder="0" height="360" src="//www.youtube.com/embed/MbNH4JBQiSY" width="640"></iframe></p>
<h2>
Documentary 2: Intolerance</h2>
<p>
<iframe allowfullscreen="" frameborder="0" height="360" src="//www.youtube.com/embed/dF3VvlBtfiE" width="640"></iframe></p>
<h2>
Documentary 3: A New Generation</h2>
<p>
<iframe allowfullscreen="" frameborder="0" height="360" src="//www.youtube.com/embed/hGu5e_VWPWk" width="640"></iframe></p>
<h2>
Documentary 4: A Very British Story</h2>
<p>
<iframe allowfullscreen="" frameborder="0" height="360" src="//www.youtube.com/embed/wPRvbJRzfcc" width="640"></iframe></p>
<h2>
Returning to School: Modelling Poetry Reading in Context</h2>
<p>
The following activity provides an opportunity for students to engage in a whole-group analysis of Wole Soyinka's poem 'Telephone Conversation', modelling the process of close reading and application of contextual research. It is recognized that Soyinka is African. However, the content of the poem very obviously relates to the Black British experience, as is poignantly recognized in the first Windrush documentary, 'Arrival'. Teachers organize this lesson according to their preference and circumstance.</p>
<div class="yellowBg">
<p>
<a href="/media/ib/englishalanglit/files/Telephone%20Conversation.pdf"><img class="ico" src="../../../thinkib/icons/exercise.png"> 'Telephone Conversation' (1962), Wole Soyinka</a></p>
<p>
<img class="ico" src="/r/b1.png">‘Telephone Conversation’ (1962) Wole Soyinka</p>
<p>
The price seemed reasonable, location</p>
<p>
Indifferent. The landlady swore she lived</p>
<p>
Off premises. Nothing remained</p>
<p>
But self-confession. "Madam," I warned,</p>
<p>
"I hate a wasted journey—I am African."</p>
<p>
Silence. Silenced transmission of</p>
<p>
Pressurized good-breeding. Voice, when it came,</p>
<p>
Lipstick coated, long gold rolled</p>
<p>
Cigarette-holder pipped. Caught I was foully.</p>
<p>
"HOW DARK?" . . . I had not misheard . . . "ARE YOU LIGHT</p>
<p>
OR VERY DARK?" Button B, Button A.* Stench</p>
<p>
Of rancid breath of public hide-and-speak.</p>
<p>
Red booth. Red pillar box. Red double-tiered</p>
<p>
Omnibus squelching tar. It was real! Shamed</p>
<p>
By ill-mannered silence, surrender</p>
<p>
Pushed dumbfounded to beg simplification.</p>
<p>
Considerate she was, varying the emphasis—</p>
<p>
"ARE YOU DARK? OR VERY LIGHT?" Revelation came.</p>
<p>
"You mean--like plain or milk chocolate?"</p>
<p>
Her assent was clinical, crushing in its light</p>
<p>
Impersonality. Rapidly, wave-length adjusted,</p>
<p>
I chose. "West African sepia"--and as afterthought,</p>
<p>
"Down in my passport." Silence for spectroscopic</p>
<p>
Flight of fancy, till truthfulness clanged her accent</p>
<p>
Hard on the mouthpiece. "WHAT'S THAT?" conceding,</p>
<p>
"DON'T KNOW WHAT THAT IS." "Like brunette."</p>
<p>
"THAT'S DARK, ISN'T IT?" "Not altogether.</p>
<p>
Facially, I am brunette, but, madam, you should see</p>
<p>
The rest of me. Palm of my hand, soles of my feet</p>
<p>
Are peroxide blond. Friction, caused—</p>
<p>
Foolishly, madam--by sitting down, has turned</p>
<p>
My bottom raven black--One moment, madam!"—sensing</p>
<p>
Her receiver rearing on the thunderclap</p>
<p>
About my ears--"Madam," I pleaded, "wouldn't you rather</p>
<p>
See for yourself?"<img class="ico" src="/r/b2.png"></p>
<div class="tib-hiddenbox">
</div>
<p>
<a href="/media/ib/englishalanglit/files/Telephone%20Conversation%20Guide.pdf"><img class="ico" src="../../../thinkib/icons/exercise.png"> 'Telephone Conversation' - Reading Guide</a></p>
<p>
<img class="ico" src="/r/b1.png"><strong>Reading Guide for ‘Telephone Conversation’</strong></p>
<p>
<strong>Decontextualized, initial reading</strong></p>
<p>
1. Read the poem once through individually without annotating. At the end of your reading, take a moment to record your first reactions. Consider: What is your first impression of the poem? What strikes you as interesting? What questions do you have?</p>
<p>
2. Now read the poem a second time, this time with a pen or pencil in hand. Mark key words and repeating images. Look up any unfamiliar words and mark their definitions. After this reading, identify what you believe to be the themeof the poem.</p>
<p>
3. Thus far, you have read the poem <em>without</em> context. Make a list of at least five contextual points or questions that you feel would help you to further understand the poem. Consider the following types of contexts when framing your questions: biographical, social, historical, artistic, reception, production.</p>
<p>
<strong>Contextualized reading</strong></p>
<p>
4. Visit <a href="http://www.achievement.org/autodoc/page/soy0bio-1">THIS</a> website and read the brief biography on Wole Soyinka. Record at least five contextual bits that enhance your further understanding of the poem.</p>
<p>
5. Re-read “Telephone Conversation,” keeping your research in mind as you read.</p>
<p>
6. Consider: How does reading “Telephone Conversation” in context extend your understanding of the meaning of the poem?</p>
<p>
<strong>Close-reading</strong></p>
<p>
7. Why does the speaker “confess” his race over the phone? What connotations does the word “confess” hold and why do you believe Soyinka presents his statement of race as “self-confession”?</p>
<p>
8. What words are used to describe the landlady in the first stanza? What does “pressurized good breeding” suggest?</p>
<p>
9. Identify the various types of imagery used in the second stanza and the effects of each choice.</p>
<p>
10.What does the dialogue reveal? How are the speaker and landlady characterized through these choices in dialogue (pay particular attention to the third stanza)?</p>
<p>
11.How does the pace of the poem shift from beginning to end? What denotes this shift in pace? What is the effect of this shift on the meaning of the poem?</p>
<p>
12.Identify where Soyinka uses inverted syntax, and consider the effects of this inversion on the meaning of the poem.</p>
<p>
13.Consider the point of view of the poem and how meaning of the poem is affected by this point of view.</p>
<p>
14.How may this poem be read satirically? Where does Soyinka use irony and a mocking tone to highlight main themes of the poem?</p>
<p>
<strong>Connect</strong></p>
<p>
15.What connections can you find between the themes expressed in “Telephone Conversation” and those expressed in Windrush? How does the text type (poem versus documentary) affect your understanding of these themes?<img class="ico" src="/r/b2.png"></p>
<div class="tib-hiddenbox">
</div>
</div>
<h2>
Returning to School: Poetry Jigsaw</h2>
<p>
Following the guided reading lesson on 'Telephone Conversation', students are asked to apply the reading process and understandings from this lesson to a range of poems. Each group should be allocated one or more more poems to analyze and present.</p>
<div class="yellowBg">
<p>
<a href="/media/ib/englishalanglit/files/Poetry%20Jigsaw%20Instructions.pdf"><img class="ico" src="../../../thinkib/icons/exercise.png"> Instructions for Poetry Jigsaw</a></p>
<p>
<img class="ico" src="/r/b1.png"><strong>Poetry Jigsaw </strong>- Using a similar process to the whole-class analysis of “Telephone Conversation,” each group will be assigned one poem written between 1948 - 1998 on which to conduct a close contextual and textual analysis. You will have one class period to analyze your poem, using the attached notes to guide your study. Upon completion of your analysis, you will be responsible for presenting this poem to the class, focusing explicitly on the role of context in determining understanding and on cross-textual connections between literary and nonliterary texts.</p>
<p>
<strong>Decontextualized, initial reading:</strong></p>
<p>
1. Read the poem once through individually without annotating. At the end of your reading, take a moment to record your first reactions. Consider: What is your first impression of the poem? What strikes you as interesting? What questions do you have?</p>
<p>
2. Now read the poem a second time, this time with a pen or pencil in hand. Mark key words and repeating images. Look up any unfamiliar words and mark their definitions. After this reading, identify what you believe to be the themeof the poem.</p>
<p>
3. Thus far, you have read the poem <em>without</em> context. Make a list of at least five contextual points or questions that you feel would help you to further understand the poem. Consider the following types of contexts when framing your questions: biographical, social, historical, artistic, reception, production.</p>
<p style="margin-left: -15pt; ">
<strong> Contextualized reading:</strong></p>
<p>
4. Now spend a bit of time researching the context of your poem. Look up biographical information on the author, the year in which the poem was written and any specific historical events that the poem references.</p>
<p>
5. Re-read your poem, keeping your research in mind as you read.</p>
<p>
6. Consider: How does reading the poem in context extend your understanding of the meaning of the poem?</p>
<p>
<strong>Close-reading:</strong></p>
<p>
7. Next, conduct a literary reading of the poem. Consider how the author uses the following techniques in your poem and the <strong><em>effect </em>of each technique on the poem’s meaning</strong>:</p>
<p>
a. Imagery - auditory, gustatory, visual, olfactory, kinesthetic, tactile</p>
<p>
b. Figurative language - similes, metaphors, personification</p>
<p>
c. Connotations of key diction</p>
<p>
d. Repetitions and binaries</p>
<p>
e. Language - use of Standard English, Patios, dialect</p>
<p>
f. Sound techniques</p>
<p>
g. Punctuation</p>
<p>
h. Structure</p>
<p>
i. Syntax</p>
<p>
<strong>Connect:</strong></p>
<p>
8. What connections can you find between the themes expressed in your assigned poem and those expressed in Windrush? Are these connections explicit (deliberate mentioning of events) or implicit? How does the text type (poem versus documentary) affect your understanding of these themes?<img class="ico" src="/r/b2.png"></p>
<p>
<a href="/media/ib/englishalanglit/files/POEMS.pdf"><img class="ico" src="../../../thinkib/icons/exercise.png"> Poetry Collection</a></p>
<p>
<img class="ico" src="/r/b1.png"><strong>Poems</strong></p>
<p>
<strong>What about di Workin Claas </strong>(1982) Linton Kwesi Johnson</p>
<p>
fram Ingland to Poelan</p>
<p>
evry step acraas di oshan</p>
<p>
di rulin claases dem is in a mess</p>
<p>
yes, di capitalis System a regress</p>
<p>
di soviet system naw progress</p>
<p>
well which one a dem yu tink is bes</p>
<p>
wen a di two a dem di workas a kantes</p>
<p>
wen crisis is di aadah af di day</p>
<p>
wen soh much people cryin out fi change nowaday</p>
<p>
soh wat about di workin class</p>
<p>
comred chair man</p>
<p>
wat about di workin class</p>
<p>
dey bear di laas</p>
<p>
dey carry di craas</p>
<p>
an dem naw goh figet</p>
<p>
dem tanks in Gdansk</p>
<p>
dem now goh figet dem tanks</p>
<p>
well fram di eas to di wes</p>
<p>
to di lan I love di bes</p>
<p>
di rulin claases dem is in a mess</p>
<p>
crisis is di aadah af di day</p>
<p>
di workaz dem demandin more Pay/everyday</p>
<p>
di pezants want a lat more say/nowaday</p>
<p>
di yout dem rebelin evrywhey/evrywhey</p>
<p>
insohreckshan is di aadah af di day</p>
<p>
is a lat of people crying out fi change nowaday</p>
<p>
noh baddah blame it pan di black working claas</p>
<p>
mistah racist</p>
<p>
blame it pan di rulin claas</p>
<p>
blame it pan yu capitalis baas</p>
<p>
wi pay di caas</p>
<p>
wi suffah di laas</p>
<p>
an wi naw goh figet New Cross</p>
<p>
nat a raas</p>
<p>
wi naw goh figet New Cross</p>
<p>
<strong>Windrush Welcome </strong>(1998) John Agard</p>
<p>
They brought a certain style</p>
<p>
to the sceptered isle</p>
<p>
from that other realm, the Caribbean.</p>
<p>
One newspaper spoke of their dazzling ties</p>
<p>
and said hope shone in their eyes</p>
<p>
But they came with no sword or musket.</p>
<p>
I speak of those Windrush pilgrims, pioneers,</p>
<p>
or simply call them followers of a dream</p>
<p>
when dreams were coloured red white and blue.</p>
<p>
But like the all-embracing breeze</p>
<p>
that shows no concern</p>
<p>
for the origin of a flag</p>
<p>
let the heart learn</p>
<p>
to fly its banner</p>
<p>
without regard to colour</p>
<p>
as moon and dark unite</p>
<p>
within a single sky</p>
<p>
On such a day</p>
<p>
will black and white</p>
<p>
raise a rum</p>
<p>
to Windrush welcome</p>
<p>
and a flag will open</p>
<p>
out its fluttering arms</p>
<p>
and this time round</p>
<p>
the bard will say</p>
<p>
This England, that was wont to conquer others</p>
<p>
Hath made a glorious conquest of itself.</p>
<p>
<br>
<br>
<strong>What Stephen Lawrence Has Taught Us </strong>(1998) Benjamin Zephaniah</p>
<p>
We know who the killers are,</p>
<p>
We have watched them strut before us</p>
<p>
As proud as sick Mussolinis,</p>
<p>
We have watched them strut before us</p>
<p>
Compassionless and arrogant,</p>
<p>
They paraded before us,</p>
<p>
Like angels of death
</p>
<p>
Protected by the law.
</p>
<p>
It is now an open secret
</p>
<p>
Black people do not have</p>
<p>
Chips on their shoulders,
</p>
<p>
They just have injustice on their backs
</p>
<p>
And justice on their minds,
</p>
<p>
And now we know that the road to liberty
</p>
<p>
Is as long as the road from slavery.</p>
<p>
The death of Stephen Lawrence
</p>
<p>
Has taught us to love each other
</p>
<p>
And never to take the tedious task
</p>
<p>
Of waiting for a bus for granted.
</p>
<p>
Watching his parents watching the cover-up
</p>
<p>
Begs the question
</p>
<p>
What are the trading standards here?
</p>
<p>
Why are we paying for a police force
</p>
<p>
That will not work for us?</p>
<p>
The death of Stephen Lawrence
</p>
<p>
Has taught us
</p>
<p>
That we cannot let the illusion of freedom</p>
<p>
Endow us with a false sense of security as we walk the streets,</p>
<p>
The whole world can now watch
</p>
<p>
The academics and the super cops</p>
<p>
Struggling to define institutionalised racism
</p>
<p>
As we continue to die in custody
</p>
<p>
As we continue emptying our pockets on the pavements,
</p>
<p>
And we continue to ask ourselves
</p>
<p>
Why is it so official
</p>
<p>
That black people are so often killed
</p>
<p>
Without killers?
</p>
<p>
We are not talking about war or revenge
</p>
<p>
We are not talking about hypothetics or possibilities,
</p>
<p>
We are talking about where we are now
</p>
<p>
We are talking about how we live now
</p>
<p>
In this state
</p>
<p>
Under this flag, (God Save the Queen),
</p>
<p>
And God save all those black children who want to grow up
</p>
<p>
And God save all the brothers and sisters
</p>
<p>
Who like raving,
</p>
<p>
Because the death of Stephen Lawrence
</p>
<p>
Has taught us that racism is easy when
</p>
<p>
You have friends in high places.
</p>
<p>
And friends in high places
</p>
<p>
Have no use whatsoever
</p>
<p>
When they are not your friends.</p>
<p>
Dear Mr Condon,
</p>
<p>
Pop out of Teletubby land,
</p>
<p>
And visit reality,
</p>
<p>
Come to an honest place
</p>
<p>
And get some advice from your neighbours,
</p>
<p>
Be enlightened by our community,
</p>
<p>
Neglect your well-paid ignorance
</p>
<p>
Because
</p>
<p>
We know who the killers are.</p>
<p>
<br>
<br>
<strong>So You Think I Am a Mule? </strong>(1984) Jackie Kay</p>
<p>
"Where do you come from?"</p>
<p>
"Im from Glasgow"</p>
<p>
"Glasgow?"</p>
<p>
"Uh huh.Glasgow"</p>
<p>
The white face hesitates</p>
<p>
the eyebrows raise</p>
<p>
the mouth opens</p>
<p>
then snaps shut</p>
<p>
incredulous</p>
<p>
yet too polite to say outright liar</p>
<p>
she tries another manoeuvre</p>
<p>
"And your parents?"</p>
<p>
"Glasgow and Fife."</p>
<p>
"Oh?"</p>
<p>
"Yes. Oh?"</p>
<p>
Snookered she wonders where she should go</p>
<p>
from here-</p>
<p>
"Ah, but you're not pure"</p>
<p>
"Pure? Pure what.</p>
<p>
Pure white? Ugh. What a plight</p>
<p>
Pure? Sure I'm pure</p>
<p>
I'm rare..."</p>
<p>
"Well that's not exactly what I mean,</p>
<p>
I mean...you're a mulatto, just look at..."</p>
<p>
"listen. My original father was Nigerian</p>
<p>
to help with your confusion</p>
<p>
But hold on right there</p>
<p>
If you Dare mutter mulatto hover around hybrid</p>
<p>
hobble on half-caste</p>
<p>
and intellactualize on the</p>
<p>
'mixed race problem'</p>
<p>
I have to tell you:</p>
<p>
take your beauty eyes offa my skin;</p>
<p>
don't concern yourself with</p>
<p>
the 'dialetics of mixtures':</p>
<p>
don't pull that strange blood crap</p>
<p>
on me Great White Mother.</p>
<p>
Say, Im no mating of a</p>
<p>
she-ass and a stallion</p>
<p>
no half of this and half of that</p>
<p>
to put it plainly purely</p>
<p>
I am Black</p>
<p>
My blood flows evenly, powerfully</p>
<p>
and when they shout 'Nigger'</p>
<p>
and you shout shame</p>
<p>
aint nobody debating my blackness.</p>
<p>
You see that fine African nose of mine,</p>
<p>
my lips, my hair, You see lady</p>
<p>
Im not mixed up about it.</p>
<p>
So take your questions, your interest,</p>
<p>
your patronage. Run along.</p>
<p>
Just leave me.</p>
<p>
There's alot of us</p>
<p>
Black women strugglin to define</p>
<p>
just who we are</p>
<p>
where we belong</p>
<p>
and if we know no home</p>
<p>
we know one thing:</p>
<p>
we are Black</p>
<p>
we're at home with that '</p>
<p>
"Well that's all very well, but..."</p>
<p>
"I know it's very well.</p>
<p>
No But. Goodbye."</p>
<p>
<br>
<strong>Roomseeker in London </strong>(1950s) James Berry</p>
<p>
I saw him rapping her door</p>
<p>
Field man of old empire stood</p>
<p>
with that era he brought</p>
<p>
She knew a man from sunny skies</p>
<p>
She knew a bundle in arms</p>
<p>
that walked with a hopeful mind</p>
<p>
This then was the trial</p>
<p>
Sugar man sighed</p>
<p>
on outrage the lady effused</p>
<p>
and she quickly bolted in</p>
<p>
His knocks hurt both ways</p>
<p>
Can two poles consummate</p>
<p>
Sky and earth and blood?</p>
<p>
The man wondered</p>
<p>
How many more doors</p>
<p>
would his gesture take?</p>
<p>
<strong>Migrant in London </strong>(1950s) James Berry</p>
<p>
Sand under we feet long time.</p>
<p>
Sea divided for we, you know,</p>
<p>
how we turned straggles to Mecca.</p>
<p>
An’ in mi hangin’ drape style</p>
<p>
I cross worl’ centre street, man.</p>
<p>
An’ busy traffic hoot horns.</p>
<p>
I see Big Ben strike</p>
<p>
the mark of my king town.</p>
<p>
Pigeons come perch on mi shoulder,</p>
<p>
roun’ great Nelson feet.</p>
<p>
I stan’ in the roar, man,</p>
<p>
in a dream of wheels</p>
<p>
a-vibrate shadows.</p>
<p>
I feel how wheels hurry in wheels.</p>
<p>
I whisper, man you mek it.</p>
<p>
You arrive.</p>
<p>
Then sudden like, quite loud I say,</p>
<p>
‘Then whey you goin’ sleep tonight?’</p>
<p>
<br>
<br>
<strong>Remember the Ship </strong>(1998) John Agard</p>
<p>
As citizen</p>
<p>
of the English tongue</p>
<p>
I say remember</p>
<p>
the ship</p>
<p>
in citizenship</p>
<p>
for language</p>
<p>
is the baggage</p>
<p>
we bring –</p>
<p>
a weight</p>
<p>
of words to ground</p>
<p>
and give us wing –</p>
<p>
as millennial waters</p>
<p>
beckon wide</p>
<p>
and love’s anchor</p>
<p>
waiting to be cast</p>
<p>
will the ghost of race</p>
<p>
become the albatross</p>
<p>
we shoot at our cost?</p>
<p>
I’m here to navigate –</p>
<p>
not flagellate</p>
<p>
with a whip of the past</p>
<p>
but again I say remember</p>
<p>
the ship</p>
<p>
in citizenship</p>
<p>
for is not each member</p>
<p>
of the human race –</p>
<p>
a ship on two legs</p>
<p>
charting life’s tidal</p>
<p>
rise and fall</p>
<p>
as the ship</p>
<p>
of the sun</p>
<p>
unloads its light</p>
<p>
and the ship</p>
<p>
of night</p>
<p>
its cargo of stars</p>
<p>
again I say remember</p>
<p>
the ship</p>
<p>
in citizenship</p>
<p>
and diversity</p>
<p>
shall sound its trumpet</p>
<p>
outside the bigot’s wall</p>
<p>
and citizenship shall be</p>
<p>
a call</p>
<p>
to kinship</p>
<p>
that knows</p>
<p>
no boundary</p>
<p>
of skin</p>
<p>
and the heart</p>
<p>
offers its wide harbours</p>
<p>
for Europe’s new voyage</p>
<p>
to begin</p>
<p>
<strong>In My Country </strong>(1993) Jackie Kay</p>
<p>
walking by the waters</p>
<p>
down where an honest river</p>
<p>
shakes hands with the sea,</p>
<p>
a woman passed round me</p>
<p>
in a slow watchful cirlcle,</p>
<p>
as if I were a superstition;</p>
<p>
or the worst dregs of her imagination,</p>
<p>
so when she finally spoke</p>
<p>
her words spliced into bars</p>
<p>
of an old wheel. A segment of air.</p>
<p>
Where do you come from?</p>
<p>
‘Here,’ I said, ‘Here. These parts.’</p>
<p>
<br>
<br>
<strong>A Mugger’s Game </strong>(1984) E.A. Markham</p>
<p>
Chase him down the alley</p>
<p>
put him behind bars</p>
<p>
in a basement and charge him rent.</p>
<p>
Lambchops has potential</p>
<p>
for violence. He’s faking,</p>
<p>
says the Pig in the wig,</p>
<p>
make him an example</p>
<p>
of our collective self-defence.</p>
<p>
Black them here stop them there</p>
<p>
before they get too cheeky</p>
<p>
too second-generation aware</p>
<p>
and ape us overtake us</p>
<p>
queuing up for houses they claim their fathers built.</p>
<p>
They’re a problem so he’s a problem</p>
<p>
A potential mugger</p>
<p>
on a quiet English street,</p>
<p>
so smash him smash him</p>
<p>
or soon he’ll flash an education</p>
<p>
and leave you crumpled in a heap.<img class="ico" src="/r/b2.png"></p>
</div>
<h2>
Extension</h2>
<p>
Many possibilites exist for extension. Much of the study has been about 'race relations'. The Windrush documentary film series ends in 1998. But this is not the end of history; there is no last analysis. Students may like to research how the Black British experience has changed since 1998, and can be encouraged to engage further with relevant literature from the period. Since racism and hostility towards immigration has not gone away, teachers may design lessons that focus on media representations of Blacks and other immigrant groups, creating links to Parts 1 and 2 of the Language and Literature course, and to non-literary texts. Other links can be made to Theory of Knowledge, establishing connections, for example, to the construction of narrative and to History as an area of knowledge. Perhaps teachers can encourage students to make connections between the Black British experience and the Black American experience, or to other local circumstances. It's important that teachers leave students enthused, and eagerly anticipating their future study. They may recommend further reading for students, perhaps directing students to New Historical fiction; that is, texts that rewrite conventional history in fictional form.</p>
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