Gezim--one of the two people in charge of the American Corner in Tetovo--always calls the kids 'chukaluks' and somehow the name has kind of stuck. and yesterday was our "holiday show." In the days/week preceding the show, honestly, I was feeling just a bit anxious--there were so many unknowns. so many things that hadn't come together just yet. and so many things we couldn't predict (like who was actually going to show up on Saturday)--but the kids never ceased to amaze me.
they organized extra practices, stayed at least for two hours each class (which are usually an hour long), wanted to learn more songs ("but teacher," they'd say, "what about Rudolph the red-nosed..." and then they'd pause, looking at the word reindeer, puzzling.) and when I told them to go home and practice Deck the Halls--they did! they figured out the difference between the fa-la-la-las. I think I didn't expect them to be so dedicated, so invested in the show. but they kept surprising me.
Malvina--my fellow fulbrighter in Tetovo (she's here doing research)--and I decided just about a month ago that we wanted to do something for the holidays--and then dove in. I turned "learn English through games" into "chukaluk choir practice," and Malvina organized an adaptation of "how the grinch stole christmas." one girl and her cousin choreographed a dance, we made decorations. practiced standing as a choir. practiced our cutoffs. counting off the songs. practiced being sleeping citizens of Whoville (trying not to snore too loudly, or wake the others with our giggles). practiced holding up our signs for the 12 days of christmas. and then, like any good holiday show, it ended with a group boogie while Rina danced.
adorable. just adorable.
but more than being adorable, I was really proud of the kids. of standing up there in front of a bunch of mothers in headscarves and conducting a program entirely in English--and all the kids were right there, following right along. reading the lyrics, singing, reading their scripts with emotion and feeling.
Last week--in the heat of our rehearsal, it became evident that one of the boys was crying, or had been.
and this was my first real "oh my god what do I do" moment as a teacher. because with 30 kids--I didn't want to turn their attention just to this one kid (I had a feeling that probably wasn't ideal, especially as guys don't really cry here, or at least I get the sense they don't), and couldn't totally abandon the 30 other kids to spend the time with the one kid. After realizing that the issue was bullying--I pulled the two kids aside (bullier and bullied)--basically saying that this wasn't acceptable etc.
and then one of the other kids took over. I asked the kid who had been bullied if he wanted to come stand up towards the front, even though he's one of the taller kids--and then Kadir (who's one of the two kids who usually acts as my translator, and keeps everyone on task. seriously) took it upon himself to make sure this kid was doing ok--they'd disappear into the next room for just a minute, and I could just see that the kid who had been bullied really appreciated having someone support him/defend him/hear him. Kadir acted as his advocate, talking to Me, Gezim and Malvina about what had happened. it was really beautiful for me to see someone who I think of as a "kid" taking that kind of responsibility--of being so empathetic, so caring.
and then a second kid started to cry because he was worried that the kid who had been bullied would be upset with him for not standing up for him.
and on the one hand, I was mortified to have two crying boys in my class. all in one day!
and on the other hand, I was, and am, so inspired by them--because I saw them taking care of each other, and expressing this caring. so, if I didn't love them before, I certainly love the kids now.
we're already dreaming up a spring show.
I can't wait!
and for all you who missed it: how the grinch stole christmas, Chukaluk style and my debut as a conductor!
It also smelled like spring today--dirt-y and muddy, with bits of green poking out from behind the snow (some beautiful days did a number on the snow). although I can't wait for spring--I can't help but think "already? no. please. not quite yet." because I know after spring comes summer. and I want to savor each and every one of these Tetovo days/Tetovo dena/dite Tetova.
27 November:
a case for space
I know I should study more geography when I start coming up with
(and then sharing publicly to top it off) titles for blogposts like ‘a
case for space.’ if only because further study might lead to somewhat
more nuanced plays on words (kind of puts a whole new spin on
“space-case.” maybe? maybe?)
anyhow.
I’ve been thinking about those flags.
firstly, however, a couple disclaimers: yes. the Albanians haven’t invented nationalism—let alone the mass-production of flags. it’s not so much the Albanian part of the flags as the flag part of the flags which I keep coming back to. it reminds me of the opening essay in Slavenka Drakulic’s book “Cafe Europa, Life After Communism” where she talks about being raised on the pronoun “we” (read Socialism), and how such an all-encompassing identifier eliminates or seeks to eliminate so much of the diversity, the individualism (and individuals) we actually encounter in the world. For me, this whole notion of space takes the argument one step further—because using “we” implies that “we” know who “we” are (and perhaps more importantly, who “we” are not). combined with space (shift to the pronoun “ours”) so much of that beautiful space where meaning, identity, self get explored, expressed and re-explored, re-expressed, depends upon these pronouns—those we’s and ours’—as being flexible, mailable. as not being monolithic or static. But, it also begs for space (physical, metaphorical) where these identities can be teased out, some safe space were it’s alright to be unsure (and my mind’s eye cuts to Shana’s second-grade-self-face saying “sometimes girls just want to be a boy for a day”—ask me for a copy of the Claire [Oglesby] movie). because (thank you Brene—I knew it’d come back to you [http://www.ted.com/talks/brene_brown_on_vulnerability.html]) vulnerability, well, it’s key.
the flags, to me, feel like big honking pronouns, tacked up all over town—except that they’re either “we/ours” or "they/theirs" depending on how you hold your head, squint your eyes and read the text. but it’s slightly more complicated than that—they’re anonymous pronouns, they’re public pronouns. I don’t know how to dialogue with these pronouns—these flags (but it could be graffiti, symbols) purely because they are static (of course the meaning I ascribe to them is not but…). Furthermore, to me, having them placed strategically in public spaces forces the question of pronouns into the public—except that it feels like it’s in the form of a yes/no question. there isn’t a lot of room for “maybe.”
anyhow.
I’ve been thinking about those flags.
firstly, however, a couple disclaimers: yes. the Albanians haven’t invented nationalism—let alone the mass-production of flags. it’s not so much the Albanian part of the flags as the flag part of the flags which I keep coming back to. it reminds me of the opening essay in Slavenka Drakulic’s book “Cafe Europa, Life After Communism” where she talks about being raised on the pronoun “we” (read Socialism), and how such an all-encompassing identifier eliminates or seeks to eliminate so much of the diversity, the individualism (and individuals) we actually encounter in the world. For me, this whole notion of space takes the argument one step further—because using “we” implies that “we” know who “we” are (and perhaps more importantly, who “we” are not). combined with space (shift to the pronoun “ours”) so much of that beautiful space where meaning, identity, self get explored, expressed and re-explored, re-expressed, depends upon these pronouns—those we’s and ours’—as being flexible, mailable. as not being monolithic or static. But, it also begs for space (physical, metaphorical) where these identities can be teased out, some safe space were it’s alright to be unsure (and my mind’s eye cuts to Shana’s second-grade-self-face saying “sometimes girls just want to be a boy for a day”—ask me for a copy of the Claire [Oglesby] movie). because (thank you Brene—I knew it’d come back to you [http://www.ted.com/talks/brene_brown_on_vulnerability.html]) vulnerability, well, it’s key.
the flags, to me, feel like big honking pronouns, tacked up all over town—except that they’re either “we/ours” or "they/theirs" depending on how you hold your head, squint your eyes and read the text. but it’s slightly more complicated than that—they’re anonymous pronouns, they’re public pronouns. I don’t know how to dialogue with these pronouns—these flags (but it could be graffiti, symbols) purely because they are static (of course the meaning I ascribe to them is not but…). Furthermore, to me, having them placed strategically in public spaces forces the question of pronouns into the public—except that it feels like it’s in the form of a yes/no question. there isn’t a lot of room for “maybe.”