Sirc in the Box?
I want to begin by saying that I love this piece. While Sirc’s ideas are nothing less than idealistic, he nonetheless gives us a focused goal. Sirc argues that we need to create/offer an environment/way for students to find ways of composing that challenge the norms. He bases his whole argument on composers like DuChamp who found a way of composing that still expressed meaning but challenged the traditional viewer. I don’t think he just asks us to emulate these types of compositions. I think he is asking us to look at composition differently, approach it from a different angle, not completely disregard traditional modes of composition.
The problem with approaching composition differently is not having the means to do it. Working in the traditional public school classroom teachers never have the funding they need to provide ideal materials for students. Not only that, but when do they have the time? This frustrating cycle makes me want to scream and I’m don’t have my own classroom yet.
So where does this leave us? Should we try to find a way to work with Sirc’s ideas? There are ways. Shipka provides living proof of this. But how do we incorporate it into a classroom with little or no room for idea play?. There are elective courses that could be made but that still isn’t the be all end all solution. So, what do we do?
How Schools Suppress Creativity
I've encountered this text before in another one of Shipka's classes. It brought some interesting questions to the table. It asks if the five paragraph essay suppresses creativity in students. I do think Lauren made her point, but I also think that she defeated her own purpose. The formula could be applied in different ways, as she demonstrates. Therefore suggesting the formula is adaptable and changable.
I approached these texts like I would my own writing, I read the comments made my the "teacher" first. The first text was not nearly as shocking as the second. The comments of the second text seemed so personal, attacking any and every choice the writer made. On the other hand, the first had comments that I received and have given in the past. The comments were formulaic. A machine could have graded that paper. But maybe that's the point the student was trying to make. Do teachers really help students by grading their papers using a formula. I chose to become an English major because Math happens to be my greatest fear, and now I have to learn formulas? At the same time, the second method is so harsh. I would want to never write again and possibly plot revenge against the teacher that wrote the comments.
The question, does this formula suppress creativity? I definitely think it can. If the teacher does not ask more of the student, then yes, creativity could be suppressed. But, if the teacher finds a way to challenge the student then creativity does not have to be suppressed. Maybe more interesting prompts or even just holding students accountable for the choices they make. The five paragraph essay does provide constraints, but it doesn't limit the student if the teacher doesn't allow that to happen. It also provides a compacted assessment of students.
This does not mean that I like the five paragraph essay, but I do think there is still a place for it in schools. I just think teachers need to push students to do more with it. Lauren's piece is a perfect example creativity working within the constraints of the formula. We just need to find a way to get more of this out of students.
I approached these texts like I would my own writing, I read the comments made my the "teacher" first. The first text was not nearly as shocking as the second. The comments of the second text seemed so personal, attacking any and every choice the writer made. On the other hand, the first had comments that I received and have given in the past. The comments were formulaic. A machine could have graded that paper. But maybe that's the point the student was trying to make. Do teachers really help students by grading their papers using a formula. I chose to become an English major because Math happens to be my greatest fear, and now I have to learn formulas? At the same time, the second method is so harsh. I would want to never write again and possibly plot revenge against the teacher that wrote the comments.
The question, does this formula suppress creativity? I definitely think it can. If the teacher does not ask more of the student, then yes, creativity could be suppressed. But, if the teacher finds a way to challenge the student then creativity does not have to be suppressed. Maybe more interesting prompts or even just holding students accountable for the choices they make. The five paragraph essay does provide constraints, but it doesn't limit the student if the teacher doesn't allow that to happen. It also provides a compacted assessment of students.
This does not mean that I like the five paragraph essay, but I do think there is still a place for it in schools. I just think teachers need to push students to do more with it. Lauren's piece is a perfect example creativity working within the constraints of the formula. We just need to find a way to get more of this out of students.
On Discourse and Diversity and Pomo Blues
First I would like to address something Erika said in her blog. She asks "how practical is it to teach students to deviate from the standard?" I don't think we should just focus on the practicality of teaching students to deviate from the standard. The fact of the matter is that if no one in history deviated from the standard, we could still be without the wheel. I think we all recognize that a change needs to be made not in just teaching composition, but the whole academic institution needs change. Honestly, we cannot change the system on our own. We need the help of our students. We need them to understand that deviation from the standard is the only way to start this change. Maybe it is time for people to realize that Standard American English isn't the be all end all dialect of academic writing. The academy is so rigid, maybe it is time for other aspects of American language and culture to be given a chance to find footing in the the academic world. In order to do this, we need to start the change by introducing these ideas to the students. Ask more of them then just five paragraph essays and mimicked sonnets. Challenge them to reach farther. Ask them to scare us, the teacher. Don't let them rest in the familiar. And don't let ourselves rest in the familiar.
On Pomo Blues
I do agree that meaning can be and often is socially constructed. Therefore, personal narratives often have ties to social definitions. But I still think that there is hope for the personal narrative because not all people experience events, ideas, readings in the same way. It becomes personal when we internalize the events and make sense of them with societal definitions. Where it becomes tricky is when you encounter a student who is not ready to analyze these things deeply. Not only that, but it is easier to assign the generic topic and go with convention, because then you, the teacher, don't have to think. That is the problem.
On Pomo Blues
I do agree that meaning can be and often is socially constructed. Therefore, personal narratives often have ties to social definitions. But I still think that there is hope for the personal narrative because not all people experience events, ideas, readings in the same way. It becomes personal when we internalize the events and make sense of them with societal definitions. Where it becomes tricky is when you encounter a student who is not ready to analyze these things deeply. Not only that, but it is easier to assign the generic topic and go with convention, because then you, the teacher, don't have to think. That is the problem.
On Personal Writing assignments
The description Connors gives of the shift from academic writing as impacted by the Greek oratory tradition to the student centered personal writing is not just uncomfortable for the teacher. As a student who doesn't ever like getting those assignments, I honestly don't think I'm the only one. The plus to writing in the academic tradition is that you don't have to bare yourself to a person who doesn't really know you. Your experience could be misconstrued, especially if you aren't a very good writer. But there are also advantages to focusing on personal writing. Inputting one's experience could help the reader relate and become more involved in the text. So where does that leave us? Absolutely nowhere.
Again, we face the question of academic versus personal writing and which is best for teaching composition. And once again, I don't think there is a clear answer. Academic writing has its pros and cons as does personal writing. I think separating the two remains impossible. There needs to be a combination of both. As much as I do not like inserting personal stories into my academic writing, the ability to write clearly about one's experiences is an important skill to have and can be incorporated into academic writing if need be. Even if this makes the teacher uncomfortable, in the grand scheme of life the ability to articulate ones experiences and synthesize them with academia could only help because it can add impassion the writing if done correctly.
Again, we face the question of academic versus personal writing and which is best for teaching composition. And once again, I don't think there is a clear answer. Academic writing has its pros and cons as does personal writing. I think separating the two remains impossible. There needs to be a combination of both. As much as I do not like inserting personal stories into my academic writing, the ability to write clearly about one's experiences is an important skill to have and can be incorporated into academic writing if need be. Even if this makes the teacher uncomfortable, in the grand scheme of life the ability to articulate ones experiences and synthesize them with academia could only help because it can add impassion the writing if done correctly.
Bartholomae/Elbow
Bartholomae/Elbow
I strongly disagree with the idea that academic writing must free itself from style. As a matter of fact, I think any writing is inextricably linked to personal choice, which lends itself to personal style. As writers, the choices we make in writing are our own choices. We may mimic others, but we will never be able to truly write what another author writes because our lived experience colors the words. Any choice we make while writing, the rhetorical devices used, word choice, punctuation, transitions, paragraphs, etc, are governed by how the author internalized and makes understanding of their own experiences (this includes what they’ve read and written).
I do agree that academic writing requires more attention and adherence to institutional rules, but even these conventions can be broken. For example, the personal essay students write. It’s not just the idea that makes the essay personal, it’s the way the student expresses the idea. In class we talked about how students make up a personal essay. I’ll admit I’m one of those students. While other students feel comfortable expressing their life changing experiences to a teacher they hardly know, I’m not. But just because I may make up the content of the essay, I don’t think that makes it any less personal. I’m still writing the essay. I’m using my experience as a writer and observer to choose what goes on the page. My choices are still personal, therefore making my essay personal.
As I said before, the choices writers make while writing are personal. The presentation may be different, ie the personal essay, research paper, letter, to do list, creative non-fiction, etc, but the writing remains personal.
I strongly disagree with the idea that academic writing must free itself from style. As a matter of fact, I think any writing is inextricably linked to personal choice, which lends itself to personal style. As writers, the choices we make in writing are our own choices. We may mimic others, but we will never be able to truly write what another author writes because our lived experience colors the words. Any choice we make while writing, the rhetorical devices used, word choice, punctuation, transitions, paragraphs, etc, are governed by how the author internalized and makes understanding of their own experiences (this includes what they’ve read and written).
I do agree that academic writing requires more attention and adherence to institutional rules, but even these conventions can be broken. For example, the personal essay students write. It’s not just the idea that makes the essay personal, it’s the way the student expresses the idea. In class we talked about how students make up a personal essay. I’ll admit I’m one of those students. While other students feel comfortable expressing their life changing experiences to a teacher they hardly know, I’m not. But just because I may make up the content of the essay, I don’t think that makes it any less personal. I’m still writing the essay. I’m using my experience as a writer and observer to choose what goes on the page. My choices are still personal, therefore making my essay personal.
As I said before, the choices writers make while writing are personal. The presentation may be different, ie the personal essay, research paper, letter, to do list, creative non-fiction, etc, but the writing remains personal.
The Last Time I Enjoyed....
This question is really hard for me to answer. I have so many interests, I almost always enjoy whatever activity for which I'm invovled. In lieu of this, I've decided to include several activities related to different parts of my life. The last book I truly enjoyed reading was Christopher Moore's Dirty Job. The last thing I truly enjoyed writing was a poem in my "book." Everytime I hang out with my family i can't imagine leaving again. I enjoy all the time I spend with the BF even if we're just napping in the middle of the day. No matter how much I complain about work, I love every minute I spend in that building. I enjoy myself in the sun, rain, snow, and wind. No matter where I am, what i am doing, there is some aspect that i find joy in. But most of all, I truly enjoy almost any interaction with pen and paper, books, and people. I guess that explains why i'm in pursuit of my teaching certification.
Landmark Essays CH 7, 16
On Perl's Piece:
Her overall arguement that writing involves forward, backword, and reflective movement remains the most valid that i've read in this class. Everything she described I've experienced at one point or another. One question though, what if a writer processes in a linear fashion? She also says "writing leads to discovery," suggesting writers find more about their own process, connection between mind and pen, grammar, literary devices, etc. by writing (Just like I realized that sentence is very awkward). I believe that assertion to be true. If we do not write, or practice writing, how will we know what to do and how we go about doing it.
On Runicman's Piece:
Writing as something fun eh? Most students don't look at a writing assignments as fun. In my experience writing for the non-english major becomes a tedious chore. The same goes for reading. I've never understood why, but then i've found so much pleasure in both activities it is hard to understand any other point-of-view. After reading Runicman's article, I couldn't help but identify with his desire to share the wonders of writing. I choose to write, teach, and share what i've read because i want others to experience the same pleasure in those activies as i do. Trying to inspire hundreds of students with writing and reading may seem niave, but something I'm willing to work for.
Her overall arguement that writing involves forward, backword, and reflective movement remains the most valid that i've read in this class. Everything she described I've experienced at one point or another. One question though, what if a writer processes in a linear fashion? She also says "writing leads to discovery," suggesting writers find more about their own process, connection between mind and pen, grammar, literary devices, etc. by writing (Just like I realized that sentence is very awkward). I believe that assertion to be true. If we do not write, or practice writing, how will we know what to do and how we go about doing it.
On Runicman's Piece:
Writing as something fun eh? Most students don't look at a writing assignments as fun. In my experience writing for the non-english major becomes a tedious chore. The same goes for reading. I've never understood why, but then i've found so much pleasure in both activities it is hard to understand any other point-of-view. After reading Runicman's article, I couldn't help but identify with his desire to share the wonders of writing. I choose to write, teach, and share what i've read because i want others to experience the same pleasure in those activies as i do. Trying to inspire hundreds of students with writing and reading may seem niave, but something I'm willing to work for.
Landmark Essays Ch 8, 9, 11
On Berthoff's piece:
The first time I read this article I didn't understand a word. It took a second reading before I grasped any point Berthoff tried to make. I got lost amongst doubles like "consciousness of consciousness." I do like how Berthoff advocates a multimodal approach to teaching composition. I too believe that form's importance is underrated to academic institutions. We've been taught to focus on developing a voice not form. I also like how she ends with "composing is a process of meaning making." The only way to understand how meaning is made is to analyze the process by which we visually internalize, imagine, then produce.
On Hairston's piece:
I really do agree the prediction of change, but i don't agree with editing being the best way to teach students writing. Addressing the first, we always seem to be on the cusp of change. The problem is always the inability to predict whether the change will be positive or negative. While our education systems have seen many advances in teaching practices and tools, there are foundational parts that are crumbling. Now to my disagreement with Hairston's claim that the best way to teach writing is through editing. Composition is not just about the words and grammatical marks on a page. Editing does not help a writer create ideas, it only helps make them accessible to the reader.
On Reither's Piece:
This article seemed like an echo...I've heard it from all the other process people we've read. I did like the the point about teaching students inquiry strategies because it is really important for secondary education students to learn these before going to college. Many students do not understand how to research or evaluate sources. The internet (the convenient crutch as I like to call it) provides students with copious amounts of information, but they don't understand how to use the information.
The first time I read this article I didn't understand a word. It took a second reading before I grasped any point Berthoff tried to make. I got lost amongst doubles like "consciousness of consciousness." I do like how Berthoff advocates a multimodal approach to teaching composition. I too believe that form's importance is underrated to academic institutions. We've been taught to focus on developing a voice not form. I also like how she ends with "composing is a process of meaning making." The only way to understand how meaning is made is to analyze the process by which we visually internalize, imagine, then produce.
On Hairston's piece:
I really do agree the prediction of change, but i don't agree with editing being the best way to teach students writing. Addressing the first, we always seem to be on the cusp of change. The problem is always the inability to predict whether the change will be positive or negative. While our education systems have seen many advances in teaching practices and tools, there are foundational parts that are crumbling. Now to my disagreement with Hairston's claim that the best way to teach writing is through editing. Composition is not just about the words and grammatical marks on a page. Editing does not help a writer create ideas, it only helps make them accessible to the reader.
On Reither's Piece:
This article seemed like an echo...I've heard it from all the other process people we've read. I did like the the point about teaching students inquiry strategies because it is really important for secondary education students to learn these before going to college. Many students do not understand how to research or evaluate sources. The internet (the convenient crutch as I like to call it) provides students with copious amounts of information, but they don't understand how to use the information.
Landmark Essay's CH 10, 14, 17
On Berkenkotter's piece:
I think the author of this piece found a relatively good way to approach the study of someone's writing process. It is really wonderful that she was able to actually transcribe the process and break it down statistcally. I do agree with Josh's statement of there not being enough time allocated to the study. I also think that her observation about Mr. Murray making his biggest revisions when he turned his thoughts towards his audience. It shows the hypersentivity of the writer to mold his voice in a way that others can understand.
On Flynn's piece:
Really enjoyed this article. The day that we touched on this in class, I wanted to go more in-depth, but alas...there was no time. The included narratives were very helpful defining the line between male and female student writing. Introducing the texts Flynn describes the narratives saying "The narratives of the female students are stories of interaction, of connection, or of frustrated connection. The narratives of the make students are stories of achievement, of serparation, or of frustrated achievement." After reading this, I couldn't have agreed more. Thinking back to all the narratives (written or verbal) that i've heard from men and women, their focus or intended meaning would neatly fit in one of those boxes.
On Murray's piece:
I agree whole-heartedly with his thesis. Every experience a writer has colors experiences to follow. This knowledge and understand can really be seen in someone's writing. There are two quotes that I think sum up the entire article. Towards the end he writes, "We become what we write." This is imperative to any good writer. Living within the words you write gives them vibrancy no matter what genre you are writing in. Then at the end Murray says "That is the terrible, wonderful power of reading; the texts we create in our own minds while we read-or just after we read-become part of the life we believe we lived." Again this goes back to interalizing and making sense of our experiences. Everything we read becomes internalized and applied to the experiences we've had or stored to be applied to a later experience. All of these jumbled together makes us individual characters with specific traits that can be identified in our writing.
I think the author of this piece found a relatively good way to approach the study of someone's writing process. It is really wonderful that she was able to actually transcribe the process and break it down statistcally. I do agree with Josh's statement of there not being enough time allocated to the study. I also think that her observation about Mr. Murray making his biggest revisions when he turned his thoughts towards his audience. It shows the hypersentivity of the writer to mold his voice in a way that others can understand.
On Flynn's piece:
Really enjoyed this article. The day that we touched on this in class, I wanted to go more in-depth, but alas...there was no time. The included narratives were very helpful defining the line between male and female student writing. Introducing the texts Flynn describes the narratives saying "The narratives of the female students are stories of interaction, of connection, or of frustrated connection. The narratives of the make students are stories of achievement, of serparation, or of frustrated achievement." After reading this, I couldn't have agreed more. Thinking back to all the narratives (written or verbal) that i've heard from men and women, their focus or intended meaning would neatly fit in one of those boxes.
On Murray's piece:
I agree whole-heartedly with his thesis. Every experience a writer has colors experiences to follow. This knowledge and understand can really be seen in someone's writing. There are two quotes that I think sum up the entire article. Towards the end he writes, "We become what we write." This is imperative to any good writer. Living within the words you write gives them vibrancy no matter what genre you are writing in. Then at the end Murray says "That is the terrible, wonderful power of reading; the texts we create in our own minds while we read-or just after we read-become part of the life we believe we lived." Again this goes back to interalizing and making sense of our experiences. Everything we read becomes internalized and applied to the experiences we've had or stored to be applied to a later experience. All of these jumbled together makes us individual characters with specific traits that can be identified in our writing.
Problems with the Institution
Leaving class today the question Shipka posed replayed in my head like an unwanted Backstreet Boys song. I've thought, been taught, and read about the institutional problems concerning teaching composition today, but never analyzed. A student's process should not continually be ignored by the institution. Understanding and implementing the process that best fits the student seems the most logical way to produce efficiency.
In class today, many students including myself, expressed the want to "beat the system." I agree with Shipka in saying that something is wrong within the current structure if students are continually looking for ways to meet the requirements without "meeting" them. All the compostion teachers I've come across say that drafts and revision are the best way to write and teach writing. But I agree with Kasandra on this point. Just because I didn't physically write down my ideas, order them on paper in complete sentences, and do grammatical/structural editing (on a draft), does not make my writing any less valid. It just means I chose not to relate the institutional norm to my process.
So, if students beating the instituation has become the norm, then yes, a change needs to happen. But do teachers/professors have the time and resources to allow student to follow their own proccesses? In the public school arena no, maybe the change can start at the college level. To relate this to the English Comm/Tech department here at UMBC, ENGL 392 would be the perfect class to begin instituting change. I think the course should be required along with Engl 301 as the first classes required of a potential English major. Even though the class requires the traditional draft and revision (which could be modified), ENGL 392 provides an excellent setting and flexibility for students to identify the process which best suits them.
In class today, many students including myself, expressed the want to "beat the system." I agree with Shipka in saying that something is wrong within the current structure if students are continually looking for ways to meet the requirements without "meeting" them. All the compostion teachers I've come across say that drafts and revision are the best way to write and teach writing. But I agree with Kasandra on this point. Just because I didn't physically write down my ideas, order them on paper in complete sentences, and do grammatical/structural editing (on a draft), does not make my writing any less valid. It just means I chose not to relate the institutional norm to my process.
So, if students beating the instituation has become the norm, then yes, a change needs to happen. But do teachers/professors have the time and resources to allow student to follow their own proccesses? In the public school arena no, maybe the change can start at the college level. To relate this to the English Comm/Tech department here at UMBC, ENGL 392 would be the perfect class to begin instituting change. I think the course should be required along with Engl 301 as the first classes required of a potential English major. Even though the class requires the traditional draft and revision (which could be modified), ENGL 392 provides an excellent setting and flexibility for students to identify the process which best suits them.
Williams and I Should Be BFF's
After reading the Williams's article I finally understood how I want to teach composition when I become a practicing teacher. He says "if our goal as writing instructors is to teach critical thinking, then we need to be careful about privileding a singualr method of representing knowledge," and suggests "that building a pedogogy on a combination of verbal and visual rhetorics empowers students to make connections among disparate, yet related texts and encourages them to weave together multiple forms."
Looking back on my schooling, teachers tried to encorporate different types of media into the classroom, but never connected the texts to literacy. The idea that many more connections can be made by encorporating and becoming literate in different types of "rhetorics" would really change the dynamic of the classroom, but for the better. As college students, teachers, and professors, we've dedicated our lives to the pursuit of knowledge. If we choose to follow William's model, students would be given the opportunity to critically engage with different new medias as well as the "old forms." This will help them become knowledgable of past and present which will give them the power to combine the two and astound the world with something new.
If I had the opportunity to engage with other types of media in high school, I would. I understand that time and lack of resources become the biggest obstacles preventing the interweaving of medias in classrooms, but that is nothing new. There are ways to work with what you have or don't have. Restricting students to just one type of rhetorical structure is "perilous" because it is close-minded and short-sighted; two qualities no one wants to see or experience in another person. Qualities that can easily be replaced if we recognize the importance and possiblity of William's suggestion.
Looking back on my schooling, teachers tried to encorporate different types of media into the classroom, but never connected the texts to literacy. The idea that many more connections can be made by encorporating and becoming literate in different types of "rhetorics" would really change the dynamic of the classroom, but for the better. As college students, teachers, and professors, we've dedicated our lives to the pursuit of knowledge. If we choose to follow William's model, students would be given the opportunity to critically engage with different new medias as well as the "old forms." This will help them become knowledgable of past and present which will give them the power to combine the two and astound the world with something new.
If I had the opportunity to engage with other types of media in high school, I would. I understand that time and lack of resources become the biggest obstacles preventing the interweaving of medias in classrooms, but that is nothing new. There are ways to work with what you have or don't have. Restricting students to just one type of rhetorical structure is "perilous" because it is close-minded and short-sighted; two qualities no one wants to see or experience in another person. Qualities that can easily be replaced if we recognize the importance and possiblity of William's suggestion.
What Voice
After class, I left unsatisfied. I've always placed large emphasis on my personal voice in writing. The class left me questioning that idea. What defines voice? Where does it come from? Who decides which voice belongs to what? Do I really have my own personal voice?
Originally, to me, voice embodied the individual expression of thought and ideas. But these concepts are continually tainted by societal pressures, personal choices, images, art, etc. Can voice be truely unique to the individual? I want to say yes, if only to assure myself of my individuality. The problem lies in the idea that voice remains intimately connected to style. The connection between the two raises another question; which should the young writer develop first, style or voice? How do students develop either concept?
In class, someone alluded to all the guidelines are to help students develop a voice. I don't think a person needs to participate in a formal educational setting to develop a voice. Writing is only one way to express the voice. Maybe I'm assuming too much by thinking that ideas can find voice through other mediums. Not all students are as interested and engaged in writing as us English majors are, and this needs to be recognized in the classroom and in the world as a whole.
Sorry, I know I've raised more questions than answers but I honestly can't answer these questions. Try as I might, my mind remains blank.
Posted by Megan Purcell at 12:54 PM 0 comments
Labels: What Voice?
Originally, to me, voice embodied the individual expression of thought and ideas. But these concepts are continually tainted by societal pressures, personal choices, images, art, etc. Can voice be truely unique to the individual? I want to say yes, if only to assure myself of my individuality. The problem lies in the idea that voice remains intimately connected to style. The connection between the two raises another question; which should the young writer develop first, style or voice? How do students develop either concept?
In class, someone alluded to all the guidelines are to help students develop a voice. I don't think a person needs to participate in a formal educational setting to develop a voice. Writing is only one way to express the voice. Maybe I'm assuming too much by thinking that ideas can find voice through other mediums. Not all students are as interested and engaged in writing as us English majors are, and this needs to be recognized in the classroom and in the world as a whole.
Sorry, I know I've raised more questions than answers but I honestly can't answer these questions. Try as I might, my mind remains blank.
Posted by Megan Purcell at 12:54 PM 0 comments
Labels: What Voice?
Impressed
Today I got served. Well, all who have had Shipka in a previous class got served. This was not the first time I saw or experienced Narissa's Happening/History project. Viewing the video again made me realize the need for me to push myself harder. The many different levels and angles incorporated into the project remains nothing less than amazing.
I really liked how everything weaved together to create a chain of events that influenced twenty something people's actions. I'm also really impressed that she was able to pull herself away from the project and give people tasks that would not reveal her identity. When I'm working on a project, I put as much of myself into it as possible. So that separation in her project really made it successful.
I want to see the interpretive dance one now...
I really liked how everything weaved together to create a chain of events that influenced twenty something people's actions. I'm also really impressed that she was able to pull herself away from the project and give people tasks that would not reveal her identity. When I'm working on a project, I put as much of myself into it as possible. So that separation in her project really made it successful.
I want to see the interpretive dance one now...
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