A big consideration in prepping for the workshops is the class environment, or how things are arranged and set up in the room to best support student learning.
One important component of design for the sessions I run is a circular structure.
I do this because I want the poets to be able to reference one another. The social-emotional and self-expressive aspects of these workshops are just as important as the academic and in order to facilitate these empathic aspects I need to set up the room in a way that promotes communication between poets.
For example, in my younger workshops where I use the movement cards I put the circle of cards in the center of the larger seating circle. This gives each poet a kind of performance for their turn and then I still keep an open space for writing on the board, trying to keep it so that the poem is a kind of part of the circle.
I like to keep the room clear as well, nothing but the seating and activity.
It’s important to note as well, that teachers, therapists, and other facilitators are sitting (or standing in the case of other workshops) with the poets. This equanimity in seating is twofold in that it’s a visual representation of the fact that all voices are valued, student voice on the same tier as adult voice, and it allows for seamless 1:1 support. Whether that support is because a therapist is using this session as a group mandate and needs to work in close capacity to fulfill goals or because a poet needs sensory support in a moment of challenge, this set up makes it so that there are no dramatic/run across the room/jump in the middle of the activity/ stop everything situations that arise.
It’s pretty simple, but taking small considerations can make big improvements in peer learning.