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:
Facebook: @oneclappodcast
Instagram: @one_clap_podcast
TikTok: @oneclapspeechanddebate
YouTube: www.youtube.com/channel/UCyvpV56859lLA-X-EvHVYUg
Your voice matters!
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Lyle Wiley (00:09):
Hey campers, what you thought the clapocalypse was
over, done with Silent, evenWell, you thought wrong.
We needed a breather, but we'reback.
It is episode sweet 16 and IzzyGarcia is here to present part
three of his activist guide tothe clap apocalypse.
I'm your camp director and hostof the One Clap Speech and
Debate podcast, lyle Wileyhere's hoping that Camp One Clap
(00:33):
is providing some excitementand helpful content to help kick
off another awesome year ofspeech and debate.
Quick reminder check the OneClap socials for today's social
media challenge.
Today, coach Izzy Garcia is backwith a series for camp.
Just in case you missed it,let's learn just a little bit
more about Izzy.
Cheyenne.
South assistant coach IzzyGarcia cares about delivering
(00:54):
the best Camp One Clapexperience and providing
perspective and thoughts aboutadvocacy and speech and debate.
National qualifier in originaloratory, performer in duo drama,
poi and poetry, the newlyturned coach Izzy is determined
to not only keep you safe in theclapocalypse, but also wants to
ignite thinking in the massesabout all things speech and
debate.
Advocacy, education andadvocacy in the world of speech
(01:17):
and debate is paramount and Izzyis here to help.
It's time for Izzy's Activist'sGuide to the Clapocalypse.
Izzy Garcia (01:27):
Part 3, poi A Chaotic Conversation.
Hello and welcome to Izzy'sGuide to the Clapocalypse.
Yes, finally we get into someeducational material for your
ears to digest and your eyes tovaguely visualize.
In this final episode, we arefinally talking about POI how to
get started and how it alsoplays a role into advocacy.
Don't worry, I'm not getting ona soapbox about advocacy here.
(01:49):
Just a slight mention on how itmakes you a better poi person.
I want to first start thisconversation by saying that I do
not classify myself as a poiperson.
I love programs.
I think people who do them aresupermen.
I'm speaking on this topicbecause I have done some good
research, put my chips in thegame and hope that I can teach
you a thing or two about theevent.
(02:10):
Instead of going through eachaspect of poi, talking about
every section, I'm going to takeyou through on what you should
expect when preparing for poiand some questions you should be
asking yourself.
First, we're going to go oversome initial background work,
then molding and structuring thepoi and finally some
methodology on how to performpoi.
First things first.
Like any good interpretation,you should be doing a topic that
(02:32):
you want to talk about.
However, I'm going to expandupon this and say that you
should be advocating forsomething in your performance.
I've always chalked up poi asthe event that begs you to
provide an argument for theaudience to absorb.
I know that's some weirdwording Argument.
If we look at the definition ofargument, there is the typical
understanding of conflictbetween two people.
(02:53):
However, in another context wecould see arguing as a way of
persuading.
When we use performance topersuade, we invoke an emotional
connection to the audience tocare about the topic that we
want to talk about.
In college I did a poi onmisinformation and used a lot of
really good personal exampleson how people were tricked into
(03:14):
thinking that events that didn'thappen happened.
A highlight of poi performancesis showcasing firsthand how
your topic affects people.
I want to bring up the conceptagain of using your voice to
your full advantage.
There has been the critique ofpoi acting as a vehicle to only
talk about identity.
What I mean is when a poiperformers use poi to talk about
(03:37):
their identity.
Some people believe that thisis the surefire way to get the
one in the round.
Surefire way to get the one inthe round.
Here are my thoughts on that.
Poi is the unique event thatallows for multiple stories to
come together in one 10-minutelength in order to deliver a
message.
If that message is to talkabout a person's identity,
(03:58):
that's fine.
A lot of the time, people donot have the platform to talk
about these issues with theirpeers, so having to endure some
identity pieces for the sake ofadvocacy is more than okay for
me.
This is what I'm going to saywhen it comes to selecting your
pieces.
When it comes to poi, you shouldbe talking about something that
is important to you.
So many individuals that I'vetalked to when it comes to poi
(04:19):
have told me that poi means somuch to them that they use poi
as a way to find comfort inplaces that they weren't allowed
to, that their voices finallymean something in the world of
performance and speech.
No matter what you're talkingabout, whether it's about
identity or something else thatis super important in this world
talk about it, be passionateabout it.
Make sure it's something youwant to do.
(04:41):
Some questions you should beasking yourself are what topics
are important to me?
Will this challenge me?
Can I relate to this material?
As I mentioned last week, whenwe're performing so intensely,
it's important that we canrelate and stomach the material
throughout the entire speechseason.
Okay, that is the finalconversation about advocacy here
(05:02):
, kinda.
However, please remember thatin any event, your voice matters
.
Awkward transition, okay, fromthe NSDA Unified Manual.
We know that we could use drama,humor, prose and poetry when
selecting material.
However, one aspect of theseselections that I think people
(05:22):
miss out on is the concept ofperspective and voice.
The reason why we wantperformers to know what they're
arguing for is because it helpsyou narrow down what you should
be looking for when it comes toliterature.
Let's say I wanted to talkabout the importance of queer
safe spaces.
This allows me to look forstories or articles that talk
about how safe spaces haveplayed an important role for
(05:44):
people in the LGBT plus spherefor years.
That perspective is soimportant because it allows you
to have a more precise aim onwhat to look for.
It also opens up the idea of acounter-perspective or
counter-voice.
A counter-voice is essentiallyany material that goes against
your argument.
I know that sounds completelycontradictory to what we're
(06:06):
asking you to do in Poi.
However, when we introduce acounter-voice to your argument,
it allows what you are arguingfor to be completely
rationalized in your performance.
Think about it in the world ofinterpretation.
Every good humor has some drama.
Every good drama has some humor.
Same principle applies here too.
That counter voice alsohighlights the importance of
(06:27):
voice that we need to take intoconsideration when we're
selecting our materials.
In a world of informationreadily at our fingertips, it is
important that you find theright voice for your specific
argument.
This isn't to say that allvoices around your topic don't
matter.
This is to say that you need tofind the right story to tell
the story of your argument.
How do we effectively do this?
(06:49):
I know it sounds a littlecomplicated, but if we call back
to the guide, last year, Ibrought up the idea of plot
structure in Poi.
If we use plot structure to ouradvantage when building a Poi,
then we can essentially fill inthe blanks on where to put the
voices in the program.
While I did say there are manytypes of plot structures in
which you could use for Poi, Iwant to say that I personally
(07:10):
believe that there is a rightone to pick in order to help you
assemble the poi as well ashelp your audience during the
performance.
The plot structure goes asfollows Exposition, inciting
incident, conflict, risingaction, climax, falling action,
resolution Just as basic asbasic can be.
(07:30):
But this is a reminder thatjust because your plot structure
is basic doesn't mean yourargument has to be.
The wonderful thing about Poiis that once you have the plot
structure, you can have so manybeautiful voices that bring your
program to life.
Another aspect about voice thatI want to talk about here is
something that I kind of pickedup when I was going through Poi
and sitting round after round.
(07:51):
When selecting pieces andmaterials for your program, your
literature should agree witheach other.
I know these are not sentientbeings that can actually agree
with each other, but theirstories should flow into each
other.
When you transition betweencharacter, we shouldn't lose the
narrative or the story.
All of this material should beworking together to get everyone
(08:11):
to the same place at the end.
These voices are fighting forsomething, so they should be
fighting together.
Before we move into how toassemble a poi, some resources
that you could use when findingmaterials are sites like
Brooklyn Publishers, playScripts, dramatist Play Services
and so many more.
I know drama and humor materialis very hard to find in POI, so
(08:34):
there are some resources that Ihope can help you out.
When assembling a POI, the hardwork should be done.
Selecting material andutilizing plot structure should
have guided you on how youshould assemble your program.
That is the beauty behindknowing what you want to do and
knowing how to get there.
However, there are some qualityof life tips that I can provide
here that can at least help youout when assembling programs.
(08:57):
First things first.
We need to make sure that ourtext fits in the book, in your
Google Doc or whenever you havedecided to produce your poi.
Make sure that your page is onlandscape and that your text is
in columns.
I usually prefer two columnsbecause there's an assembly
method that goes along with thisformat, but this is the
surefire way to ensure that yourtext fits in the little black
(09:19):
books.
Okay, when assembling yourmaterials, make sure that you
have all your cuttings and theGoogle Doc that you've just put
together in columns andlandscape.
Take all of your cuttings andplace them in the plot structure
.
Obviously, however, I don'twant you to flood the page with
all of your cuttings.
Each page that contains twocolumns should contain two page
(09:40):
turns.
Visualize the page like it wasthe book itself.
On the left you have materialsthat begin and you progress with
the material on the right, thenyou go from there.
I know I also find it sillythat I'm trying to instruct you
on how to physically assemblethe book in the right, then you
go from there.
I know I also find it sillythat I'm trying to instruct you
on how to physically assemblethe book in audio format.
Just close your eyes and try topicture it for me.
(10:00):
You start on the left and youcontinue on the right and then
you go from there.
I know this is like some weirdversion of meditation that I'm
taking you through.
Oh okay, open your eyes, got itGood?
Another quality of life tip thatI want to talk about when it
comes to POI is to utilize adigital folder when assembling
your POI.
Oh Izzy, that's common sense.
(10:22):
Why is this?
Another piece of advice?
Turn the volume up here when Itell you the amount of times
that I have requested performersto show me their poi programs,
only for them to look through afield of documents for a half an
hour is infinite.
You're going to have so manycuttings, so many documents
(10:43):
related to your program, and youneed to keep them in place, not
only for your sanity, but foryour coach's sanity as well.
Please do us a favor and use afolder If all is lost.
Do your research when it comesto physically assembling a poi.
There are so many greatresources on the interwebs when
it comes to splicing, cuttingand placing the poi in the book.
(11:03):
Even OneClap has some greatresources that you can utilize.
Remember support your localspeech and debate podcast.
Okay, we're on the final part ofthis crazy conversation when it
comes to poi.
Thank you for sticking it outwith me.
You're pretty rad for that.
How does one become gracefuland animated like any other poi
(11:25):
that you may see out there?
How do you move and use yourbook to your full advantage and
soar into new heights?
I don't know, I just work here.
No, in all seriousness, comingup with blocking and movement in
your poi is one of the hardestparts of the entire performance.
Well, you can argue that everypart of poi is the hardest part
of poi.
That's why I applaud anyone whowants to do it.
It's a beast.
(11:46):
One methodology is literalblocking, which was something
that I brought up during lastyear's guide, the idea that you
are blocking the exact wordsthat you're saying in the story.
Well, that does give you somemovement in the program, which
is better than nothing.
I would challenge you to reallythink outside the box when it
comes to blocking.
But how do we do that?
(12:06):
How do we get there?
My honest advice when it comesto blocking a movement is to
literally watch others do it.
This is the perfect opportunityto talk about one of my favorite
books that I have read in thepast couple years Steal Like an
Artist by Austin Kleon.
In short talks about ways togain inspiration and utilize the
world around you to be more ofan artist.
(12:27):
I know left field when we'retalking about poi, but I would
argue that movement and blockingin any interpretation is an art
form that can be learned.
And how is that platformlearned?
It can be learned byquote-unquote stealing.
Now, this isn't actuallyadvocating for you to look at
other poi performances andliterally steal their blocking,
(12:49):
but you should be looking at howthey're moving, how do they use
their book, how are theypainting the story right in
front of you?
The National Institute ofHealth reported that 65% of the
population are visual learners.
When we have this expectationthat we should know how to
perform or know how to assemblea poi or know how to assemble
material, a lot of the time manypeople just need to be shown
(13:13):
how to do it.
I can sit here all day and talkyour ears off on how to do it,
but the best thing to do is toget up there and watch and learn
.
After you looked at previouspoi performances, think about
your performance.
How could you use your book toyour advantage?
How could you move?
What are your characterplacements?
How are they inspired by whatyou saw?
(13:33):
Now there's a very real realitythat you can assemble this poi,
know what you're talking aboutand block it out.
No problem.
Some people are just wired thatway, and if you are, then I
give you all the power in theworld to do it in the way that
is most fitting to you.
This is another instance where Ican bring up my other favorite
piece of advice here.
Do not be afraid to look silly.
Do you think that those poiperformers just woke up one day
(13:56):
and knew exactly how to move orblock out a poi?
No, these things take time.
Experiment, look at yourself inthe mirror, ask for help from
your peers and from coaches.
Don't let your fear of failureor looking silly hold you back
from reaching your successes inthis event, or any other event
for that matter, don't be afraidto look silly.
(14:17):
It'll take you farther in theend.
Holy crap, we did it.
Another episode of informationand you have survived in the end
.
I'm so proud of you.
I want to close here by sayingthank you for being here through
this conversation.
Poi is such a hard event andit's not for the faint of heart.
I hope that some people take myadvice and do something useful
(14:41):
with it.
I could honestly stay here forhours and talk about the ins and
outs of poi and I still don'tthink it would be enough to
explain it all for you.
Watch, learn and try your verybest.
You can do it.
Thank you for turning in to thefinal episode of Izzy's Guide
to the Clapocalypse.
I cannot believe that it's justbeen a few short weeks and
(15:04):
we're already at the end of theguide.
I hope that this year I wasable to provide you some
inspiring words, some usefulinformation and a whole lot of
fun.
One final thanks to Lyle Wileyfor giving me the space to yap
my little heart out.
A final reminder that anavocado is a fruit and that
makes guacamole a fruit salad.
Thanks for being here and, asalways, 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 beenabsolutely excellent and I
appreciate all of his hard workto put together such a valuable
series for our Camp One Clap 2.
What's going on in theClapocalypse tomorrow?
Well, Bailey Patterson andMarcus Viney are back with part
two of their two-part seriesChronicles from the Crypt.
(15:49):
It's going to be creepy, butit's also going to be great.
Remember to check those socialmedia challenges on our socials
and we'll see you tomorrow.
Campers, oh, feel free to tellthe mommy your secret.
They'll definitely keep itunder wraps for camp one clap.
This is camp director wileysigning off.
Hey campers, what you thought the clapocalypse was
over, done with Silent, evenWell, you thought wrong.
We needed a breather, but we'reback.
It is episode sweet 16 and IzzyGarcia is here to present part
three of his activist guide tothe clap apocalypse.
I'm your camp director and hostof the One Clap Speech and
Debate podcast, lyle Wileyhere's hoping that Camp One Clap
(00:33):
is providing some excitementand helpful content to help kick
off another awesome year ofspeech and debate.
Quick reminder check the OneClap socials for today's social
media challenge.
Today, coach Izzy Garcia is backwith a series for camp.
Just in case you missed it,let's learn just a little bit
more about Izzy.
Cheyenne.
South assistant coach IzzyGarcia cares about delivering
(00:54):
the best Camp One Clapexperience and providing
perspective and thoughts aboutadvocacy and speech and debate.
National qualifier in originaloratory, performer in duo drama,
poi and poetry, the newlyturned coach Izzy is determined
to not only keep you safe in theclapocalypse, but also wants to
ignite thinking in the massesabout all things speech and
debate.
Advocacy, education andadvocacy in the world of speech
(01:17):
and debate is paramount and Izzyis here to help.
It's time for Izzy's Activist'sGuide to the Clapocalypse.
Izzy Garcia (01:27):
Part 3, poi A Chaotic Conversation.
Hello and welcome to Izzy'sGuide to the Clapocalypse.
Yes, finally we get into someeducational material for your
ears to digest and your eyes tovaguely visualize.
In this final episode, we arefinally talking about POI how to
get started and how it alsoplays a role into advocacy.
Don't worry, I'm not getting ona soapbox about advocacy here.
(01:49):
Just a slight mention on how itmakes you a better poi person.
I want to first start thisconversation by saying that I do
not classify myself as a poiperson.
I love programs.
I think people who do them aresupermen.
I'm speaking on this topicbecause I have done some good
research, put my chips in thegame and hope that I can teach
you a thing or two about theevent.
(02:10):
Instead of going through eachaspect of poi, talking about
every section, I'm going to takeyou through on what you should
expect when preparing for poiand some questions you should be
asking yourself.
First, we're going to go oversome initial background work,
then molding and structuring thepoi and finally some
methodology on how to performpoi.
First things first.
Like any good interpretation,you should be doing a topic that
(02:32):
you want to talk about.
However, I'm going to expandupon this and say that you
should be advocating forsomething in your performance.
I've always chalked up poi asthe event that begs you to
provide an argument for theaudience to absorb.
I know that's some weirdwording Argument.
If we look at the definition ofargument, there is the typical
understanding of conflictbetween two people.
(02:53):
However, in another context wecould see arguing as a way of
persuading.
When we use performance topersuade, we invoke an emotional
connection to the audience tocare about the topic that we
want to talk about.
In college I did a poi onmisinformation and used a lot of
really good personal exampleson how people were tricked into
(03:14):
thinking that events that didn'thappen happened.
A highlight of poi performancesis showcasing firsthand how
your topic affects people.
I want to bring up the conceptagain of using your voice to
your full advantage.
There has been the critique ofpoi acting as a vehicle to only
talk about identity.
What I mean is when a poiperformers use poi to talk about
(03:37):
their identity.
Some people believe that thisis the surefire way to get the
one in the round.
Surefire way to get the one inthe round.
Here are my thoughts on that.
Poi is the unique event thatallows for multiple stories to
come together in one 10-minutelength in order to deliver a
message.
If that message is to talkabout a person's identity,
(03:58):
that's fine.
A lot of the time, people donot have the platform to talk
about these issues with theirpeers, so having to endure some
identity pieces for the sake ofadvocacy is more than okay for
me.
This is what I'm going to saywhen it comes to selecting your
pieces.
When it comes to poi, you shouldbe talking about something that
is important to you.
So many individuals that I'vetalked to when it comes to poi
(04:19):
have told me that poi means somuch to them that they use poi
as a way to find comfort inplaces that they weren't allowed
to, that their voices finallymean something in the world of
performance and speech.
No matter what you're talkingabout, whether it's about
identity or something else thatis super important in this world
talk about it, be passionateabout it.
Make sure it's something youwant to do.
(04:41):
Some questions you should beasking yourself are what topics
are important to me?
Will this challenge me?
Can I relate to this material?
As I mentioned last week, whenwe're performing so intensely,
it's important that we canrelate and stomach the material
throughout the entire speechseason.
Okay, that is the finalconversation about advocacy here
(05:02):
, kinda.
However, please remember thatin any event, your voice matters
.
Awkward transition, okay, fromthe NSDA Unified Manual.
We know that we could use drama,humor, prose and poetry when
selecting material.
However, one aspect of theseselections that I think people
(05:22):
miss out on is the concept ofperspective and voice.
The reason why we wantperformers to know what they're
arguing for is because it helpsyou narrow down what you should
be looking for when it comes toliterature.
Let's say I wanted to talkabout the importance of queer
safe spaces.
This allows me to look forstories or articles that talk
about how safe spaces haveplayed an important role for
(05:44):
people in the LGBT plus spherefor years.
That perspective is soimportant because it allows you
to have a more precise aim onwhat to look for.
It also opens up the idea of acounter-perspective or
counter-voice.
A counter-voice is essentiallyany material that goes against
your argument.
I know that sounds completelycontradictory to what we're
(06:06):
asking you to do in Poi.
However, when we introduce acounter-voice to your argument,
it allows what you are arguingfor to be completely
rationalized in your performance.
Think about it in the world ofinterpretation.
Every good humor has some drama.
Every good drama has some humor.
Same principle applies here too.
That counter voice alsohighlights the importance of
(06:27):
voice that we need to take intoconsideration when we're
selecting our materials.
In a world of informationreadily at our fingertips, it is
important that you find theright voice for your specific
argument.
This isn't to say that allvoices around your topic don't
matter.
This is to say that you need tofind the right story to tell
the story of your argument.
How do we effectively do this?
(06:49):
I know it sounds a littlecomplicated, but if we call back
to the guide, last year, Ibrought up the idea of plot
structure in Poi.
If we use plot structure to ouradvantage when building a Poi,
then we can essentially fill inthe blanks on where to put the
voices in the program.
While I did say there are manytypes of plot structures in
which you could use for Poi, Iwant to say that I personally
(07:10):
believe that there is a rightone to pick in order to help you
assemble the poi as well ashelp your audience during the
performance.
The plot structure goes asfollows Exposition, inciting
incident, conflict, risingaction, climax, falling action,
resolution Just as basic asbasic can be.
(07:30):
But this is a reminder thatjust because your plot structure
is basic doesn't mean yourargument has to be.
The wonderful thing about Poiis that once you have the plot
structure, you can have so manybeautiful voices that bring your
program to life.
Another aspect about voice thatI want to talk about here is
something that I kind of pickedup when I was going through Poi
and sitting round after round.
(07:51):
When selecting pieces andmaterials for your program, your
literature should agree witheach other.
I know these are not sentientbeings that can actually agree
with each other, but theirstories should flow into each
other.
When you transition betweencharacter, we shouldn't lose the
narrative or the story.
All of this material should beworking together to get everyone
(08:11):
to the same place at the end.
These voices are fighting forsomething, so they should be
fighting together.
Before we move into how toassemble a poi, some resources
that you could use when findingmaterials are sites like
Brooklyn Publishers, playScripts, dramatist Play Services
and so many more.
I know drama and humor materialis very hard to find in POI, so
(08:34):
there are some resources that Ihope can help you out.
When assembling a POI, the hardwork should be done.
Selecting material andutilizing plot structure should
have guided you on how youshould assemble your program.
That is the beauty behindknowing what you want to do and
knowing how to get there.
However, there are some qualityof life tips that I can provide
here that can at least help youout when assembling programs.
(08:57):
First things first.
We need to make sure that ourtext fits in the book, in your
Google Doc or whenever you havedecided to produce your poi.
Make sure that your page is onlandscape and that your text is
in columns.
I usually prefer two columnsbecause there's an assembly
method that goes along with thisformat, but this is the
surefire way to ensure that yourtext fits in the little black
(09:19):
books.
Okay, when assembling yourmaterials, make sure that you
have all your cuttings and theGoogle Doc that you've just put
together in columns andlandscape.
Take all of your cuttings andplace them in the plot structure
.
Obviously, however, I don'twant you to flood the page with
all of your cuttings.
Each page that contains twocolumns should contain two page
(09:40):
turns.
Visualize the page like it wasthe book itself.
On the left you have materialsthat begin and you progress with
the material on the right, thenyou go from there.
I know I also find it sillythat I'm trying to instruct you
on how to physically assemblethe book in the right, then you
go from there.
I know I also find it sillythat I'm trying to instruct you
on how to physically assemblethe book in audio format.
Just close your eyes and try topicture it for me.
(10:00):
You start on the left and youcontinue on the right and then
you go from there.
I know this is like some weirdversion of meditation that I'm
taking you through.
Oh okay, open your eyes, got itGood?
Another quality of life tip thatI want to talk about when it
comes to POI is to utilize adigital folder when assembling
your POI.
Oh Izzy, that's common sense.
(10:22):
Why is this?
Another piece of advice?
Turn the volume up here when Itell you the amount of times
that I have requested performersto show me their poi programs,
only for them to look through afield of documents for a half an
hour is infinite.
You're going to have so manycuttings, so many documents
(10:43):
related to your program, and youneed to keep them in place, not
only for your sanity, but foryour coach's sanity as well.
Please do us a favor and use afolder If all is lost.
Do your research when it comesto physically assembling a poi.
There are so many greatresources on the interwebs when
it comes to splicing, cuttingand placing the poi in the book.
(11:03):
Even OneClap has some greatresources that you can utilize.
Remember support your localspeech and debate podcast.
Okay, we're on the final part ofthis crazy conversation when it
comes to poi.
Thank you for sticking it outwith me.
You're pretty rad for that.
How does one become gracefuland animated like any other poi
(11:25):
that you may see out there?
How do you move and use yourbook to your full advantage and
soar into new heights?
I don't know, I just work here.
No, in all seriousness, comingup with blocking and movement in
your poi is one of the hardestparts of the entire performance.
Well, you can argue that everypart of poi is the hardest part
of poi.
That's why I applaud anyone whowants to do it.
It's a beast.
(11:46):
One methodology is literalblocking, which was something
that I brought up during lastyear's guide, the idea that you
are blocking the exact wordsthat you're saying in the story.
Well, that does give you somemovement in the program, which
is better than nothing.
I would challenge you to reallythink outside the box when it
comes to blocking.
But how do we do that?
(12:06):
How do we get there?
My honest advice when it comesto blocking a movement is to
literally watch others do it.
This is the perfect opportunityto talk about one of my favorite
books that I have read in thepast couple years Steal Like an
Artist by Austin Kleon.
In short talks about ways togain inspiration and utilize the
world around you to be more ofan artist.
(12:27):
I know left field when we'retalking about poi, but I would
argue that movement and blockingin any interpretation is an art
form that can be learned.
And how is that platformlearned?
It can be learned byquote-unquote stealing.
Now, this isn't actuallyadvocating for you to look at
other poi performances andliterally steal their blocking,
(12:49):
but you should be looking at howthey're moving, how do they use
their book, how are theypainting the story right in
front of you?
The National Institute ofHealth reported that 65% of the
population are visual learners.
When we have this expectationthat we should know how to
perform or know how to assemblea poi or know how to assemble
material, a lot of the time manypeople just need to be shown
(13:13):
how to do it.
I can sit here all day and talkyour ears off on how to do it,
but the best thing to do is toget up there and watch and learn
.
After you looked at previouspoi performances, think about
your performance.
How could you use your book toyour advantage?
How could you move?
What are your characterplacements?
How are they inspired by whatyou saw?
(13:33):
Now there's a very real realitythat you can assemble this poi,
know what you're talking aboutand block it out.
No problem.
Some people are just wired thatway, and if you are, then I
give you all the power in theworld to do it in the way that
is most fitting to you.
This is another instance where Ican bring up my other favorite
piece of advice here.
Do not be afraid to look silly.
Do you think that those poiperformers just woke up one day
(13:56):
and knew exactly how to move orblock out a poi?
No, these things take time.
Experiment, look at yourself inthe mirror, ask for help from
your peers and from coaches.
Don't let your fear of failureor looking silly hold you back
from reaching your successes inthis event, or any other event
for that matter, don't be afraidto look silly.
(14:17):
It'll take you farther in theend.
Holy crap, we did it.
Another episode of informationand you have survived in the end
.
I'm so proud of you.
I want to close here by sayingthank you for being here through
this conversation.
Poi is such a hard event andit's not for the faint of heart.
I hope that some people take myadvice and do something useful
(14:41):
with it.
I could honestly stay here forhours and talk about the ins and
outs of poi and I still don'tthink it would be enough to
explain it all for you.
Watch, learn and try your verybest.
You can do it.
Thank you for turning in to thefinal episode of Izzy's Guide
to the Clapocalypse.
I cannot believe that it's justbeen a few short weeks and
(15:04):
we're already at the end of theguide.
I hope that this year I wasable to provide you some
inspiring words, some usefulinformation and a whole lot of
fun.
One final thanks to Lyle Wileyfor giving me the space to yap
my little heart out.
A final reminder that anavocado is a fruit and that
makes guacamole a fruit salad.
Thanks for being here and, asalways, 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 beenabsolutely excellent and I
appreciate all of his hard workto put together such a valuable
series for our Camp One Clap 2.
What's going on in theClapocalypse tomorrow?
Well, Bailey Patterson andMarcus Viney are back with part
two of their two-part seriesChronicles from the Crypt.
(15:49):
It's going to be creepy, butit's also going to be great.
Remember to check those socialmedia challenges on our socials
and we'll see you tomorrow.
Campers, oh, feel free to tellthe mommy your secret.
They'll definitely keep itunder wraps for camp one clap.
This is camp director wileysigning off.
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