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This article was downloaded by: [University of Connecticut]On: 10 October 2014, At: 11:08Publisher: RoutledgeInforma Ltd Registered in England and Wales Registered Number: 1072954 Registeredoffice: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK
Communication TeacherPublication details, including instructions for authors andsubscription information:http://www.tandfonline.com/loi/rcmt20
Re-presenting Subversive Songs:Applying Strategies for Invention andArrangement to Nontraditional SpeechTextsDacia CharlesworthPublished online: 23 Jul 2010.
To cite this article: Dacia Charlesworth (2010) Re-presenting Subversive Songs: Applying Strategiesfor Invention and Arrangement to Nontraditional Speech Texts, Communication Teacher, 24:3,122-126, DOI: 10.1080/17404622.2010.489192
To link to this article: http://dx.doi.org/10.1080/17404622.2010.489192
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Re-presenting Subversive Songs:Applying Strategies for Invention andArrangement to NontraditionalSpeech TextsDacia Charlesworth
Courses: Public Speaking, Hybrid Basic Course
Objectives: Students will realize the importance of invention and arrangement when
developing speeches, use PowerPoint presentational aids, and manage communication
apprehension.
Rationale
Having taught public speaking in a variety of ways throughout the years, I keep
coming back to the words Cicero wrote in De Oratore. He believed that a speaker
must:
. . . first hit upon what to say; then manage and marshal his [or her] discoveries,
not merely in orderly fashion, but with a discriminating eye for the exact weight as
it were of each argument; next go on to array them in the adornments of style; after
that keep them guarded in his [or her] memory; and in the end deliver them with
effect and charm . . . (2001, p. 308)
Those familiar with Cicero’s work recognize the components of the rhetorical
canon in the excerpt above. Invention deals with the content of a speech, arrangement
involves placing the content in an order that is most strategic, style focuses on
selecting linguistic devices (such as metaphor) to make the message more appealing,
memory assists the speaker in delivering the message correctly, and delivery ideally
enables great reception of the message.
Dr. Dacia Charlesworth, Associate Professor, Indiana University-Purdue University Fort Wayne (IPFW),
Communication, 2101E, Coliseum Boulevard, Fort Wayne, 46805. Email: [email protected]
ISSN 1740-4622 (print)/ISSN 1740-4630 (online) # 2010 National Communication Association
DOI: 10.1080/17404622.2010.489192
Communication Teacher
Vol. 24, No. 3, July 2010, pp. 122�126
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Most students immediately grasp the importance of invention and how it applies
to public speaking; however, the concept of arrangement often requires more
explanation. While public speaking textbooks do a fine job of presenting various
organizational patterns (e.g., spatial, topical), most students seem to rely on the
cause�effect or problem�solution approach without truly investigating whether they
are the most appropriate choices. This activity encourages students to experiment
with invention and arrangement in a non-threatening manner.
Essentially, this activity requires students to apply the rhetorical canons of
invention and arrangement to deliver an informal presentation and engage in class
discussion. Research has demonstrated that preparing for and engaging frequently in
class discussion increases students’ comfort level in the class (Dallimore, Hertenstein,
& Platt, 2004) and that students’ comfort level during class discussion has a
significant effect on both oral and written communication (Dallimore, Hertenstein,
& Platt, 2008). Thus, students are presented with a non-threatening speaking
situation that should reduce their apprehension when delivering more formal
presentations to the class.
The Activity
Students listen to five protest songs (this genre was selected because of their clear
rhetorical messages), select their favorite, and then develop a PowerPoint presenta-
tion to re-present their interpretation of the song’s message using both an effective
and ineffective organizational pattern.
Before distributing and reviewing the handout for this activity, I review the
importance of invention and arrangement, and quiz the students on the various
organizational patterns available to them. Then I distribute a handout explaining the
assignment.
Handout
RE-PRESENTING SUBVERSIVE SONGS
Log onto Blackboard and click on ‘‘Engagements.’’ Click on the ‘‘Protest Song’’ folder.
You will find five protest songs: ‘‘Dear Mr. President’’ by P!nk and the Indigo Girls,
‘‘Mosh’’ by Eminem, ‘‘Won’t Get Fooled Again’’ by The Who, ‘‘For What It’s Worth’’
by Buffalo Springfield, and ‘‘American Idiot’’ by Green Day.
After listening to each song, select one that affected you*either positively or
negatively. Feel free to find a copy of the lyrics online to make sure you understood all
of the words but do NOT watch a video of the song!
Using PowerPoint, your task is to create two versions of your interpretation of
the song you’ve selected. For your interpretation, feel free to use words, phrases,
colors, or images harvested from the internet to represent what you felt while you
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listened to this song. After you’ve identified the images you wish to use,
identify an organizational pattern (e.g., topical, spatial, cause�effect, problem�solution, chronological) that will most effectively and ineffectively convey your
message.
Slide 1 is to be a Title Slide (see below for the assignment template). The first
representation of your interpretation (Slide 2) is to be an organizational pattern that
effectively presents your message. The second representation (Slide 3) is to use an
organizational pattern that ineffectively presents your message. For example, if I choose
to arrange my images topically for Slide 2, then I could choose the cause�effect pattern
for Slide 3 because it wouldn’t be as effective as the topical organizational pattern.
Slides 4�6 are to include an explanation of your collage (see below for the specific
questions I’d like for you to address).
You will find the ‘‘Custom Animation’’ feature helpful for having specific images
appear at specific times. After your images are placed where you would like them,
open Custom Animation (to open, click on Slide Show on the toolbar; then Click on
Custom Animation). Once that window is open you’ll be able to order the appearance
of your images. Remember that the template you use will influence the reception
of your message; so be sure to consider the formality of the template, the type of
font, etc.
Grading: I am looking for thoughtfulness evident in your project. I want to see that
you’ve really grappled with your interpretation of the song, as well as the
organizational patterns available to you and have tried, to the best of your abilities,
to represent your interpretation visually. Of course, your thoughtfulness will be
displayed in the explanation of Slides 4�6, so be sure to answer these questions
thoroughly.
Presentation: The structure of the presentation will follow the organization of
the slides. Focus on trying to establish a connection with the audience so that they
will understand the reason behind your choices. This presentation will not be
graded.
Assignment Template
Slide #1: Title Slide Slide #2: Effective Organizational Pattern
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Debriefing
This activity allows students to see firsthand how the arrangement of information can
positively and negatively effect the reception of a message. By exposing students to a
variety of organizational patterns, they can discuss whether they agree with the
speaker’s decisions to use a specific organizational structure. Using songs for this
activity has the added benefit of demonstrating that public speeches are not the only
types of messages worthy of analysis and doing so allows students to work in a
medium that might pique their interest more than public speeches. In addition, this
activity allows students to work with PowerPoint and apply basic rules for visual aids
(e.g., I teach my students the 6 �6 rule: no slide should have more than six words
across and no more than six lines of text). Moreover, this activity reifies the
Slide #3: Ineffective Organizational Pattern Slide #4: Invention Strategies
Slide #5: Arrangement Strategies Slide #6: Arrangement Strategies
Slide #7: Effective Sample Slide (Spatial Pattern):
Slide #8: Ineffective Sample Slide (Chronological Pattern):
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importance of the rhetorical canon in its entirety: students certainly acknowledge that
they use invention and arrangement in this exercise. During the follow-up discussion,
however, students also discuss how the concepts of style, memory, and delivery are
evident in this activity, as well.
Appraisal
Students identify this project as one of their favorites. They like being able to take a
brief respite from typical examples of research (e.g., scholarly sources) to consider
developing an argument in a different way. Students also like speaking about their
own re-presentation of a song and report feeling very comfortable doing so. If time is
an issue, students could choose to present either their effective or ineffective
interpretation.
References and Suggested Readings
Buffalo Springfield. (1966). For what it’s worth. On Atco (SD) 33-200A [CD]. Hollywood:
Columbia Records.
Cicero. (2001). De oratore. In P. Bizzell & B. Herzberg (Eds.), The rhetorical tradition: Readings from
classical times to the present. (pp. 289�339). Boston: Bedford/St. Martin’s Press.
Dallimore, E. J., Hertenstein, J. H., & Platt, M. B. (2008). Using discussion pedagogy to enhance
oral and written communication skills. Higher Education, 56(3), 163�172.
Dallimore, E. J., Hertenstein, J. H., & Platt, M. B. (2004). Classroom participation and discussion
effectiveness: Student-generated strategies. Communication Education, 53(1), 103�115.
Eminem. (2004). Mosh. On Encore [CD]. Santa Monica: Aftermath Entertainment.
Green Day. (2003). American idiot. On American idiot [CD]. New York: Reprise Records.
P!nk & Mann, B. (2006). Dear Mr. President. [Recorded by P!nk and the Indigo Girls]. On I’m not
dead [CD]. Los Angeles: LaFace Records.
Townshend, P. (1971). Won’t get fooled again. [Recorded by The Who]. On Who’s next [CD].
London: Polydor Records.
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