Camp One Clap 2, Episode 16: Izzy Garcia's Activist's Guide to the Clapocalypse, Part 3 - POI, A Chaotic Conversation

6:16 - Camp One Clap 2024: Day 16

For notes and details about the episode, check out the website here:
https://www.oneclapspeechanddebate.com/post/camp-one-clap-2-episode-16-izzy-garcia-s-activist-s-guide-to-the-clapocalypse-part-3-poi-a-cha

Are you ready to transform your POI approach from ordinary to extraordinary? Join us at Camp One Clap as Izzy Garcia returns with Part 3 of his Activist's Guide to the Clapocalypse. This time, Izzy dives deep into the world of Program Oral Interpretation (POI), offering invaluable advice on selecting topics that resonate on a personal level and can stir powerful emotional connections. Learn how to enrich your narrative by incorporating diverse voices and counter-perspectives, making your message not just compelling but unforgettable. Whether you’re exploring themes of identity or pressing social issues, Izzy’s insights will guide you in using POI as a mighty tool for advocacy and personal expression.

If you’d like to join the discussion here at One Clap Speech and Debate, shoot me an email at lylewiley@gmail.com or reach out here on the website.

You could also contact me on social media:
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YouTube: www.youtube.com/channel/UCyvpV56859lLA-X-EvHVYUg

Your voice matters!

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Transcript

Activist's Guide to Clapocalypse

Lyle Wiley 0:09

Hey campers , what you thought the clapocalypse was over , done with Silent , even Well , you thought wrong . We needed a breather , but we're back . It is episode sweet 16 and Izzy Garcia is here to present part three of his activist guide to the clap apocalypse . I'm your camp director and host of the One Clap Speech and Debate podcast , lyle Wiley here's hoping that Camp One Clap is providing some excitement and helpful content to help kick off another awesome year of speech and debate . Quick reminder check the One Clap socials for today's social media challenge .

Lyle Wiley 0:43

Today , coach Izzy Garcia is back with a series for camp . Just in case you missed it , let's learn just a little bit more about Izzy . Cheyenne . South assistant coach Izzy Garcia cares about delivering the best Camp One Clap experience and providing perspective and thoughts about advocacy and speech and debate . National qualifier in original oratory , performer in duo drama , poi and poetry , the newly turned coach Izzy is determined to not only keep you safe in the clapocalypse , but also wants to ignite thinking in the masses about all things speech and debate . Advocacy , education and advocacy in the world of speech and debate is paramount and Izzy is here to help . It's time for Izzy's Activist's Guide to the Clapocalypse .

Izzy Garcia 1:27

Part 3 , poi A Chaotic Conversation . Hello and welcome to Izzy's Guide to the Clapocalypse . Yes , finally we get into some educational material for your ears to digest and your eyes to vaguely visualize . In this final episode , we are finally talking about POI how to get started and how it also plays a role into advocacy . Don't worry , I'm not getting on a soapbox about advocacy here . Just a slight mention on how it makes you a better poi person . I want to first start this conversation by saying that I do not classify myself as a poi person . I love programs . I think people who do them are supermen .

Izzy Garcia 2:03

I'm speaking on this topic because I have done some good research , put my chips in the game and hope that I can teach you a thing or two about the event . Instead of going through each aspect of poi , talking about every section , I'm going to take you through on what you should expect when preparing for poi and some questions you should be asking yourself . First , we're going to go over some initial background work , then molding and structuring the poi and finally some methodology on how to perform poi . First things first . Like any good interpretation , you should be doing a topic that you want to talk about . However , I'm going to expand upon this and say that you should be advocating for something in your performance . I've always chalked up poi as the event that begs you to provide an argument for the audience to absorb . I know that's some weird wording Argument . If we look at the definition of argument , there is the typical understanding of conflict between two people . However , in another context we could see arguing as a way of persuading . When we use performance to persuade , we invoke an emotional connection to the audience to care about the topic that we want to talk about . In college I did a poi on misinformation and used a lot of really good personal examples on how people were tricked into thinking that events that didn't happen happened . A highlight of poi performances is showcasing firsthand how your topic affects people . I want to bring up the concept again of using your voice to your full advantage .

Izzy Garcia 3:27

There has been the critique of poi acting as a vehicle to only talk about identity . What I mean is when a poi performers use poi to talk about their identity . Some people believe that this is the surefire way to get the one in the round . Surefire way to get the one in the round . Here are my thoughts on that . Poi is the unique event that allows for multiple stories to come together in one 10-minute length in order to deliver a message . If that message is to talk about a person's identity , that's fine . A lot of the time , people do not have the platform to talk about these issues with their peers , so having to endure some identity pieces for the sake of advocacy is more than okay for me . This is what I'm going to say when it comes to selecting your pieces .

Izzy Garcia 4:11

When it comes to poi , you should be talking about something that is important to you . So many individuals that I've talked to when it comes to poi have told me that poi means so much to them that they use poi as a way to find comfort in places that they weren't allowed to , that their voices finally mean something in the world of performance and speech . No matter what you're talking about , whether it's about identity or something else that is super important in this world talk about it , be passionate about it . Make sure it's something you want to do . Some questions you should be asking yourself are what topics are important to me ? Will this challenge me ? Can I relate to this material ? As I mentioned last week , when we're performing so intensely , it's important that we can relate and stomach the material throughout the entire speech season . Okay , that is the final conversation about advocacy here , kinda . However , please remember that in any event , your voice matters . Awkward transition , okay , from the NSDA Unified Manual .

Izzy Garcia 5:13

We know that we could use drama , humor , prose and poetry when selecting material . However , one aspect of these selections that I think people miss out on is the concept of perspective and voice . The reason why we want performers to know what they're arguing for is because it helps you narrow down what you should be looking for when it comes to literature . Let's say I wanted to talk about the importance of queer safe spaces . This allows me to look for stories or articles that talk about how safe spaces have played an important role for people in the LGBT plus sphere for years . That perspective is so important because it allows you to have a more precise aim on what to look for . It also opens up the idea of a counter-perspective or counter-voice .

Izzy Garcia 5:59

A counter-voice is essentially any material that goes against your argument . I know that sounds completely contradictory to what we're asking you to do in Poi . However , when we introduce a counter-voice to your argument , it allows what you are arguing for to be completely rationalized in your performance . Think about it in the world of interpretation . Every good humor has some drama . Every good drama has some humor . Same principle applies here too . That counter voice also highlights the importance of voice that we need to take into consideration when we're selecting our materials .

Izzy Garcia 6:32

In a world of information readily at our fingertips , it is important that you find the right voice for your specific argument . This isn't to say that all voices around your topic don't matter . This is to say that you need to find the right story to tell the story of your argument . How do we effectively do this ? I know it sounds a little complicated , but if we call back to the guide , last year , I brought up the idea of plot structure in Poi . If we use plot structure to our advantage when building a Poi , then we can essentially fill in the blanks on where to put the voices in the program . While I did say there are many types of plot structures in which you could use for Poi , I want to say that I personally believe that there is a right one to pick in order to help you assemble the poi as well as help your audience during the performance . The plot structure goes as follows Exposition , inciting incident , conflict , rising action , climax , falling action , resolution Just as basic as basic can be . But this is a reminder that just because your plot structure is basic doesn't mean your argument has to be . The wonderful thing about Poi is that once you have the plot structure , you can have so many beautiful voices that bring your program to life .

Izzy Garcia 7:44

Another aspect about voice that I want to talk about here is something that I kind of picked up when I was going through Poi and sitting round after round . When selecting pieces and materials for your program , your literature should agree with each other . I know these are not sentient beings that can actually agree with each other , but their stories should flow into each other . When you transition between character , we shouldn't lose the narrative or the story . All of this material should be working together to get everyone to the same place at the end . These voices are fighting for something , so they should be fighting together .

Assembling and Performing a POI

Izzy Garcia 8:17

Before we move into how to assemble a poi , some resources that you could use when finding materials are sites like Brooklyn Publishers , play Scripts , dramatist Play Services and so many more . I know drama and humor material is very hard to find in POI , so there are some resources that I hope can help you out . When assembling a POI , the hard work should be done . Selecting material and utilizing plot structure should have guided you on how you should assemble your program . That is the beauty behind knowing what you want to do and knowing how to get there . However , there are some quality of life tips that I can provide here that can at least help you out when assembling programs .

Izzy Garcia 8:57

First things first . We need to make sure that our text fits in the book , in your Google Doc or whenever you have decided to produce your poi . Make sure that your page is on landscape and that your text is in columns . I usually prefer two columns because there's an assembly method that goes along with this format , but this is the surefire way to ensure that your text fits in the little black books . Okay , when assembling your materials , make sure that you have all your cuttings and the Google Doc that you've just put together in columns and landscape . Take all of your cuttings and place them in the plot structure . Obviously , however , I don't want you to flood the page with all of your cuttings . Each page that contains two columns should contain two page turns . Visualize the page like it was the book itself .

Izzy Garcia 9:45

On the left you have materials that begin and you progress with the material on the right , then you go from there . I know I also find it silly that I'm trying to instruct you on how to physically assemble the book in the right , then you go from there . I know I also find it silly that I'm trying to instruct you on how to physically assemble the book in audio format . Just close your eyes and try to picture it for me . You start on the left and you continue on the right and then you go from there . I know this is like some weird version of meditation that I'm taking you through . Oh okay , open your eyes , got it Good ?

Izzy Garcia 10:13

Another quality of life tip that I want to talk about when it comes to POI is to utilize a digital folder when assembling your POI . Oh Izzy , that's common sense . Why is this ? Another piece of advice ? Turn the volume up here when I tell you the amount of times that I have requested performers to show me their poi programs , only for them to look through a field of documents for a half an hour is infinite . You're going to have so many cuttings , so many documents related to your program , and you need to keep them in place , not only for your sanity , but for your coach's sanity as well . Please do us a favor and use a folder If all is lost . Do your research when it comes to physically assembling a poi . There are so many great resources on the interwebs when it comes to splicing , cutting and placing the poi in the book . Even OneClap has some great resources that you can utilize . Remember support your local speech and debate podcast .

Izzy Garcia 11:10

Okay , we're on the final part of this crazy conversation when it comes to poi . Thank you for sticking it out with me . You're pretty rad for that . How does one become graceful and animated like any other poi that you may see out there ? How do you move and use your book to your full advantage and soar into new heights ? I don't know , I just work here . No , in all seriousness , coming up with blocking and movement in your poi is one of the hardest parts of the entire performance . Well , you can argue that every part of poi is the hardest part of poi . That's why I applaud anyone who wants to do it . It's a beast .

Izzy Garcia 11:46

One methodology is literal blocking , which was something that I brought up during last year's guide , the idea that you are blocking the exact words that you're saying in the story . Well , that does give you some movement in the program , which is better than nothing . I would challenge you to really think outside the box when it comes to blocking . But how do we do that ? How do we get there ? My honest advice when it comes to blocking a movement is to literally watch others do it .

Izzy Garcia 12:13

This is the perfect opportunity to talk about one of my favorite books that I have read in the past couple years Steal Like an Artist by Austin Kleon . In short talks about ways to gain inspiration and utilize the world around you to be more of an artist . I know left field when we're talking about poi , but I would argue that movement and blocking in any interpretation is an art form that can be learned . And how is that platform learned ? It can be learned by quote-unquote stealing . Now , this isn't actually advocating for you to look at other poi performances and literally steal their blocking , but you should be looking at how they're moving , how do they use their book , how are they painting the story right in front of you ? The National Institute of Health reported that 65% of the population are visual learners .

Izzy Garcia 13:02

When we have this expectation that we should know how to perform or know how to assemble a poi or know how to assemble material , a lot of the time many people just need to be shown how to do it . I can sit here all day and talk your ears off on how to do it , but the best thing to do is to get up there and watch and learn . After you looked at previous poi performances , think about your performance . How could you use your book to your advantage ? How could you move ? What are your character placements ? How are they inspired by what you saw ? Now there's a very real reality that you can assemble this poi , know what you're talking about and block it out . No problem . Some people are just wired that way , and if you are , then I give you all the power in the world to do it in the way that is most fitting to you .

Izzy Garcia 13:46

This is another instance where I can bring up my other favorite piece of advice here . Do not be afraid to look silly . Do you think that those poi performers just woke up one day and knew exactly how to move or block out a poi ? No , these things take time . Experiment , look at yourself in the mirror , ask for help from your peers and from coaches . Don't let your fear of failure or looking silly hold you back from reaching your successes in this event , or any other event for that matter , don't be afraid to look silly . It'll take you farther in the end . Holy crap , we did it . Another episode of information and you have survived in the end . I'm so proud of you .

Izzy Garcia 14:29

I want to close here by saying thank you for being here through this conversation . Poi is such a hard event and it's not for the faint of heart . I hope that some people take my advice and do something useful with it . I could honestly stay here for hours and talk about the ins and outs of poi and I still don't think it would be enough to explain it all for you . Watch , learn and try your very best . You can do it . Thank you for turning in to the final episode of Izzy's Guide to the Clapocalypse . I cannot believe that it's just been a few short weeks and we're already at the end of the guide . I hope that this year I was able to provide you some inspiring words , some useful information and a whole lot of fun . One final thanks to Lyle Wiley for giving me the space to yap my little heart out . A final reminder that an avocado is a fruit and that makes guacamole a fruit salad . Thanks for being here and , as always , stay awesome .

Lyle Wiley 15:28

Well , thank you so much to Izzy for more of his series at Camp One Clap . Izzy's content has been absolutely excellent and I appreciate all of his hard work to put together such a valuable series for our Camp One Clap 2

Camp Clapocalypse Chronicles Part Two

Lyle Wiley 15:41

. What's going on in the Clapocalypse tomorrow ? Well , Bailey Patterson and Marcus Viney are back with part two of their two-part series Chronicles from the Crypt . It's going to be creepy , but it's also going to be great . Remember to check those social media challenges on our socials and we'll see you tomorrow . Campers , oh , feel free to tell the mommy your secret . They'll definitely keep it under wraps for camp one clap . This is camp director wiley signing off .