Archive for August 2006

Session 9: Home

August 25, 2006

In this session we dare to re-vision what the world calls to be ‘home’. We engage in a discussion thinking about the images and conventions we see in popular culture which represent home, and think about the diverse reality and possibilties of actual homes. We prefer to open this session without any introduction or discussion and simply engage in the first activity without explaination, allowing the participants to discover the theme on their own. Its through the first activity – Role Plays on Homes – that the participants began to organically analyze the notions of home through discussion and dialouge.

As for the writing activity, in the past, we’ve tried many different writing activities in this session but nothing has proved to be popular and effective across the board. With DIKSHA and Sanlaap we did a writing activity modelling Sandra Cisneros’ vignette “My Home.” Although the past participants found this poem to be a powerful read, few participants were able to model a poem after it. So, instead, the writing activity we’ve chosen to post on this blog is an activity we tested with Praajak and Vikramshila. It is a guided poem activity very similar to the writing activities in previous sessions like “Family” or “Emotions.” We’re not completely satisfied with this writing activity for this session — in some ways we wonder if its getting repetitive. At the same time, the poems that emerged from this writing process were excellent in past, especially when we conducted this activity with boys living on railway platforms. But, again, we still wonder, is the process too repetitive, espeically for a really mature and initated group? Must keep thinking and experimenting….

For printable version of this session, click on Session 9: Home


Magazines or Newspaper cuttings representing stereotypical family images. (Recommended)




Lights! Camera! Action! Note to Facilitators: For this opening this activity, we actually ask facilitators not to introduce this activity in context of theme, “home.” We want the participants to uncover (and eventually problemitize) the theme on their own through these roleplay. So, dive straight into the activity simply as role plays. We suggest this because we don’t want to bias participants into defining what creates a “home.” They decipher the notion of home this independently in the follow-up disussion.

  1. Divide the participants into groups of three or four.

  2. Assign each group with a Scene Depiction from the options below and ask the group to create a role play around that situation. Tell groups that the situations provided is simply the bare bones. They are do add conflict, narrative, or twists as they want within the situation provided.

  3. Ask groups to not shared their assigned situations with other groups. Keep it secret.

  4. Once each group is ready, enact the scenes. Keep all comments, reactions for the follow-up discussion.

Scene Depictions

A. A grandfather, mother, father, son, and daughter in a small rented home. They are having dinner.

B. Single mother and daughter in a rental room. They are having dinner.

C. Young wo/man living in a government hostle. S/he is having dinner.

D. Same-sex couple in a flat. They are having dinner.


Frame a discussion analyzing the Role Plays and problemtizing the stereotypical notions of Home. Use the following questions to prompt dialogue. The questions we’ve provided here will help participants analyze the construction of HOME and deconstruct it. Makes this discussion as conversational and participatory as possible.

1. What do all these scenes depict?

2. What do they have in common?

3. Do you think each of these situations represent HOMES?

4. What makes a Home?

  • Specific Individuals?
  • Specific Relationships?
  • Specific Spaces? (Stable, unstable, permanent, temporary?)

5. How does the world define Home?

  • Think of magazines, ads, and stories. (Use the optional materials)
  • Think of Images from popular films. (Hum Apke Hai Koun? Kabhi Khushi Kabhi Gam, Baaghban)

6. Are the patterns, images, definitions we see in popular culture REALISTIC? Are they UNIVERSIAL?

Lets think of our own personal Homes…..

When you physically go Home (or the place you live, or the place you want to call home), do you experience the assumptions the world makes about home (love, peace, restfulness)?· What other feelings do you also experience? Think of negative feelings.

Facilitator’s Message: Home is any place you choose, it can look like anything, it can give refuge to whatever combinations of people – same-sex partners, friends, or just you! A home is a place of both negative and positive, and both the positive and negative make you grow.


My Home

Pick a place where you feel completely yourself – a place you can claims as you own, a place where you don’t edit yourself. It doesn’t have to be the place you live; it can be a clubhouse, a store, a friend’s place. Write a descriptive poem about that place. If needed, use this structure to write the poem, or use it simply to get started:

1. Sight

2. Touch in Hands

3. Where you are, exactly

4. Feeling you have inside

5. “And this is my Home…”


Go around the room and ask the group to “sign” how they felt about this session. Thumb up, Great Session. Thumbs Down, Bad Session. Thumbs Sideways, So-so session.

Not to be used or reproduced without written permission from Kalam: Margins Write unless it is for educational purposes.


Session 8: Family

August 24, 2006

This session opens the second thematic phase of Writing Out: Community. In this session we re-define family by understanding family not in terms of relationships of blood, but relationships of support. After the opening discussion, we suggest you spend time on the Interactive Activity of creating the unconvenationl family tree — it allows writers to to choose their family and understand how family is what we make it to be. The writing activity, inspired by Sandra Cisneros’ Hairs, insitgates participants to introduce their family in a more poetic and meaningful way, which in turn pushes the writer to reflect over their family relationships with greater depth and meaning. This poem can be challenging for many new writers, so we are providing an optional guided appraoch to the poem. However, in the past, some iniated groups of writers found the guided process tedious. So see what works for your group and go from there.

For a printable version of this session, click on Session 8: Family


1. General Art Supplies (Pens, Crayons, etc)

2. Blank sheets of Paper


Opposite Sides

Have all participants gather in the center of the room. Tell the participants that you will announce two opposite (or semi-contrasting) words – one opposite belonging to one side of the room, the other opposite belong to the to the other side of the room. (They will know which opposite is which side, because you will simply POINT). When the group hears both opposites (or again, sem-contrasting words), they should run towards the side of the room designated to the opposite they have more affinity to. After each pair of opposites has been announced, and participants have made their choice, look around to see your fellow participants choices and then return to the center Its enjoyable to this activity listing out the opposites with great speed.

Some examples, (Bus/Auto Rickshaw – Shahrukh/Abhishek – poetry/short stories – mobiles/public phones – Summer/Winter – Barefeet/Shoes)


1. Lets talk Family Start a discussion on the concept of Family. Open the discussion by asking participants “Who is in your Family?” Try to deconstruct the concept of family through questions like: What defines family? Blood? Living Vicinity? Love? Do any of you have stronger relationship with individuals who are beyond the conventional definition of family? Let the discussion evolve. The main goal for the discussion is to come to a collective understanding that family does not mean “MOTHER, FATHER, SISTER, BROTHER.” Rather family means individuals who are close to our heart, individuals who play are part in making us who we are.

2. Family Tree Pass out blank sheets of paper and art supplies. Ask the group to think about who they consider to be apart of their personal family (in terms of the previous discussion.) Have the participants make a Family Tree for themselves. This tree is not a conventional family tree consisting and limited to uncles, grandparents, etc. This Family Tree should consist of individuals who play a role in the participant’s life — some one who you thin has contributed in who are you today. These “family members” could be friends, neighbors, teachers, mentors, etc. If the participants want, they can associate they’re chosen family member into branches, roots, flowers, fallen leaves, as a way of defining what role that family member has played in their life. Facilitator’s Note: Sometimes its helpful to bring in an example family tree that you have made and share it with the group. Or, quickly create your own family tree on paper in front of the group, just so they get an idea.


Group Reading

Read “Hairs” by Sandra Cisneros from The House on Mango Street. Discuss the poem with the group and ask the possible guiding questions:

1. Ask the group for initial reactions.

2. How does the narrator introduce her family? How is it different than conventional introductions?

3. As readers, do we feel we get a better understanding of the narrator’s family members? How?

4. From the narrator’s writing, what can we make out of the type of relationship the narrator has with her Mom?

5. Discuss how the use of specific similes and metaphors are reflective each family’s characteristics.

Writing Activity: “Body Part” Poem

We are all going to write a poem modeling “Hairs” — except we will write about our own family members, and instead of writing about our family’s “hair,” we can pick any one body part that we feel comfortable and confident writing about (eyes, fingers, feet, etc). Ask the writers to pick up to four members from their family tree and write a poem modeling “Hairs.” If you the group needs to be guided into the writing this poems, follow the optional Guided Writing Activity.

Optional Guided Writing Activity

Pass out Blank sheets of Paper

1. Fold your 8×10 sheet of paper once horizontally and once vertically, creating 4 equally divided squares. Open the piece of paper.

2. Think of the one body part you will write about – and write it on the top of your sheet.

3. In each box of your sheet, write the name of one family member you will write about. Each box should contain the name of a different family member.

4. In each of the boxes (which now have names of family members) answer the following questions in each box for each family member’s name written.

  • Describe the nature of this family member. (Serious, Humourous, Light, Bitter, Carefree, Tense, Angry at the world, etc)
  • Describe the physical characteristic of the chosen body part (written at the top of the sheet) for this family member. (Eyebrows – thick, messy, dark brown)
  • What does the chosen body part of this family member look/smell/sound/feel like? (Think 5 senses)

5. After you have written the answers to the probes above for each of your chosen family member, you will realize that you have all the raw material you need to write your own “Body Part” poem.



Go around the room and ask the group to “sign” how they felt about this session. Thumb up, Great Session. Thumbs Down, Bad Session. Thumbs Sideways, So-so session.

Not to be used or reproduced without written permission from Kalam: Margins Write unless it is for educational purposes.

Session 7: Experience

August 24, 2006

This session explores experiences that are silent and invisible to the world, but pulse with signifigance inside us. Facilitate the opening introduction and discussion time and patience. Make sure each participant understands the distinction behind personl meaningful experiences in contrast to convenational rites of passage. Root the conversation in their experiences. Following the discussion, this session has very a popular activity called Experience Exchange, which has been a hit almost every time. Just be sure to provide ample time for it. The writing activity is very guided and is intended to be so to help the writer navigate through the vastness of the experience they choose to write about.

For a printable version of this session, click on Session 7: Experience


  1. Small Sheets of Paper.


“Learning to Cook” by Pooja Kumari Jha


Excersising through Story-Telling

  1. Have everyone stand in a circle.
  2. One person starts a story by saying the first line. As she says the line, she performs any one movement that the line describes. For instance, if the line is “I woke up this morning, then the person may stretch her arms they way one does when they wake up.
  3. The rest of the group in the circle will repeat the line and the action.
  4. The person next to the first person will continue the story by saying another line and enacting it. The perfoms the same action again.
  5. The game ends onece everybody has said one line each. The last person has to end the story.

To add more of a dramatic effect, ask participants to play out eccentric actions. Also, stress that the same action cannot be repeated.


The Importance of digging into one’s memories

We experience a lot of things in life. Certain incidents that happen to us are generally taken to be more important than others. For instance, the day you passed your board exams, or the day you got a job. These events are very public, and everyone knows why they are important. However, there are incidents in our lives which may be very significant but the worlds does not know about them. The world may think such incidents are trivial, but in reality such incidents can be life-altering. These moments are private, and only we know how they are important in inour lives. Sometimes because these moments are so invisible and silent to the rest of the world, we ourselves begin to think that these moments aren’t worth sharing or celebrating. We must dig into our memories to rediscover these incidents, and how they have changed our lives, in whatever little or giganctic way. This a is a step towards knowing ourselves better.


1. Pass out little sheets of blank paper.

2. Participants write a detailed stenence about an important memory or experience. They must not mentioned why the experience is significant; they should only physically describe what happened.

  • EXAMPLE: Riding the train from Kolkata to Pune and being asked by a young man, “Would you like some biscuits?” [Deeper meaning: The beginning of a new friendship]
  • EXAMPLE: On a grey august morning, standing on the green grass in the cemetary [Deeper meaning: Death of my favorite Uncle.]

3. After anonymously writing these experince on the piece of paper, participants place them into a bowl.

4. Pass the bowl around and everybody will pick one randomly. If they picked their own piece of paper,try again.

5. Each writer must create or imagine a “deeper meaning” of the exprience and share it with the group.

7. Then the person who actually wrote the experience will share the true deeper meaning if they feel comfortable.



Such incidents in our lives are actually kernels of stories, poems that can be very unique and very powerful. The significance of the moment that is lost to the world can be brough out and communicated if we turn our memories into poems.

Guided Writing

Ask participants to write down the one significant incident or experience they want to write a poem on. Each of them must think deep and recall all the details surrounding that moment or experience. where were (s)he? What was (s)he wearing? Who else was around? What time of the day was it? The poem each person writes will have the following structure:

  1. I remember…(the day/evening/etc when I sat on a bike)
  2. A sound heard close to oneself
  3. Immediate sight in front
  4. Body part association (‘My hands were moist’ or ‘eye lashes were wet with lies’)
  5. A scent or smell
  6. A feeling
  7. A distant sound
  8. A color
  9. A distant sight
  10. A touch
  11. Another feeling (different)
  12. The deeper meaning of the incident/exprience (Freedom, Confidence, Loss, Growing up, Overcoming fear, etc)



Go around the room and ask the group to “sign” how they felt about this session. Thumbs up, great session. Thumbs down, bad session. Thumbs sideways, so-so session.

Not to be used or reproduced without written permission from Kalam: Margins Write unless it is for educational purposes.

Session 6: Emotions

August 17, 2006

This session is an instrospective session exploring emotions through similies and metaphors. It combines a good balance of collective writing activities and individual writing activities. The effectiveness of the opening discussion seems to depend on the degree of familiarity between participants. If the group knows each other well — like the participants of Sanlaap and DIKSHA — we’re sure it will be an insightful conversation. If the group is less familiar with each other, like the participants of Vikramshila, try to tailor the discussion around people they know well. The activities that follow usually have been enjoyable by all.

For printable version of this session, click on Session 6: Emotions

(Again, the session will be posted on the blog very, very soon.)

Session 5: Identity

August 17, 2006

This session guides participants to deconstruct stereotypes and stigmas around idenities by reassessing who we consider to be ‘other’ and by analyizing how sometimes we may seem like ‘others.’ In the past, participants have found this session to be eye-opening and even cathartic. However, this session demands facilitators to be sensitive and powerful in their presentation.

For a printable version of this session, click on Session 5: Identity

(I’ll get this session out on the blog very soon — currently, I’m struggling with format.)

Session 4: My Name

August 15, 2006

This session leads the workshop into its first thematic phase: Identity. In the past, we’ve had diverse experiences with this workshop, but youth have always found its particular theme – My Name – to be powerful. Sometimes the discussions around the theme have been very engaging and insightful. At other times, the discussions have been one-dimensional despite probes and prompts from facilitators. In order to avoid such a situation, we’ve added a new activity: a focus write on the theme, My Name. We hope this gives each participant space for introspection, even for the quiet participants.

The writing activity for this particular session has been consistently popular. Its simple and the end results are almost always beautiful.

To see the session, click on Session 4: My Name

Session 3: Practicing Craft

August 13, 2006

This session starts off with introducing The Writer’s Notebook. This is one of the most crucial steps for participants to transition into poets. And its astonishing how ownership of a writer’s notebook can inspire writing.

This greater part of this session brings together a vareity of activities allowing participants to explore and practice the use of sensory imagery, similes, metaphors. Some of these activities are done orally and collectively, and some individually on paper. Feel free to mix methods around depending on the comfort and confidence of your group.

This session also includes a new activity which we’ve never done before – the writing activity “Five ways to Look at a Dead Crow.” This is activity is of course inspired by Wallace Stevens’ “13 Ways of Looking at Black Bird.” Other poetry groups and writer’s workshops often use this poem in different ways to instigate writing. Through this activity we hope to further practice metaphors, particualry uncommon metaphors. We wonder if this activity may be a little challengeing at this early stage, but lets see. It will be interesting to see how it goes with the group of boys in Don Bosco.

For Session 3, click on Session 3: Practicing Craft