THE REFLECTIVE SECTION
AS YOU already know you may or may not use your own work for analysis. Either choice requires that the selected theme be evident. If you are going to use one of your original pieces (from the Reflective Section) for the analysis section of the Internal Assessment it must be a piece which has content and structure that facilitates analysis of registers, dialectal variations, attitudes to language and communicative behaviours. This means then that you will be creating such a piece (poetry, prose or drama). This week we will look at a one act play which was created for this specific purpose. The use of language registers, dialectal variations, the expression of various attitudes to language and communicative behaviours will be highlighted to show you how you can create your own piece(s) with little stress. In addition, we will briefly explain what each key term means.
A BUS STOP HOUR
By Debbie A. Harris
(It is one o'clock in the afternoon and Keisha and Rhona are waiting at a bus stop in Constant Spring with scores of excited holiday shoppers who themselves are eager to get on the first bus destined to Port Maria via Highgate in St. Mary.)
Keisha: It is always so difficult to get a bus at this time of the day. Rhona: That is why I told you to let us take one of the robot taxis. In no time we would get home-
Keisha: Dead, dead, dead! You don't seem to realise that these guys drive like mad men. We would reach home but probably injured or dead. I don't like driving with them.
Rhona: Alright, get ready for a long wait then, because not only are there very few of these buses but also they are packed from Downtown, so that there is no room by the time they get up here.
(Just then a bus careens around the corner and Keisha and Rhona both wave vigorously for it to stop, but the bus only slows down for the driver to select another gear and then speeds up again)
Rhona: See! What did I tell you?
Keisha: That was just the first one. We will get onto the next one.
Rhona: Mmmmhm-. (She rolls her eyes and faces the direction in which the bus headed)
Keisha: (confidently) Alright- here is another one!
(This bus does not even slow down, and much to Keisha's annoyance the conductor, who seems to be just dangling from the door, blows her a kiss and yells at her)
Conductor: Mi wi bi yuh lover boy yuh nuh! Anytime yuh want!
Rhona (laughing): Ah-Ahhhh! Now there was an ambitious young man! I had better try to get a seat for I will be here for sometime yet. (She eyes a seat made vacant by an elderly lady)
(Just then an empty robot taxi comes to a screeching halt at their feet. The driver shouts, "Come eena dis!" Eight persons file in and the taxi speeds away)
Keisha: Those are who you want us to travel with?
Rhona: Why not? At least we would soon be home. It is now one thirty nine!
Keisha: I don't need to be subjected to that kind of poor behaviour Did you hear how he invited the people to travel in his taxi? He has no self respect. He could have at least tried to use English.
Rhona: But, Keisha the behaviour on the bus that you are waiting to take isn't any different!
Keisha: At least I won't have to sit so close to everybody.
(Another robot taxi comes to a halt at the bus stop and three persons get in.)
Rhona: Do you know that you are a snob? What is wrong if you are squashed a little, it is not our living room! (As she says this to Keisha she pulls away from the elderly lady who has returned to her seat but finds her sitting there. She places a shopping bag between herself and the lady)
Keisha: And you call me a snob! (Keisha shakes her head in disbelief) (A bus with several empty seats comes to a stop and all the remaining commuters dash towards the door. Swiftly Keisha forces her way almost to the entrance. )
Rhona: (yelling) Keisha, save a seat for me!
(Just then a woman pushes Keisha forward and her bags burst and the contents fall to ground)
Keisha: A wha duh dem hooligan yah? Oonu cyan wait till a fi oonu time.
Look ow yuh dash weh mi sinting dem! (Frantically she picks up her purchases, meanwhile other commuters push and shove their way into the bus. As she picks up the final item the bus drives away)
Rhona (yelling from the bus step): Keisha, si one taxi deh. Nuh mek it leave yuh!
Keisha: (climbing into the backseat of the taxi which had four persons already seated in it.) Wait fi mi a Highgate!
ANALYSIS:
In order to complete an analysis of the preceding written communication you need to understand the following key terms. Read them carefully and see how effectively you can apply them in your analysis of A Bus Stop Hour.
Language registers refer to the forms of language (in this case English) appropriate to particular situations and purposes. It refers to the various levels of formality or informality as well as the tones that are correct for a specific context. Registers are either written or spoken language and can be identified and described as formal, casual, intimate, consultative or frozen. (See Martin Joo's Levels of Formality in English for Academic Purposes by Barbara Lalla)
Dialectal Variations refer to spoken and written differences in the use of language within a speech community: in the case of Jamaica English. (Various forms of English are used in the Caribbean). Speech related variation within the Caribbean may be located on the Creole continuum. This is a spectrum of language variation linking the more standard end of the linguistic range to the Creole end. This standard variety is called the acrolect, the mesolect refers to the varieties which are closer in features to the standard language and the basilect represents the variety which has mainly creole features. In commenting on dialectal variation you need to be aware of the different types of English used in the Caribbean. (Differences are made manifest in their inflection and accent).
Attitudes to Language refer to the manner in which people use and view the varieties of English spoken in the Caribbean. These attitudes result from several factors, including historical and social ones. An integral consideration adopted in looking at attitudes is the association of education, formality and good taste with Standard English. Another consideration is the question as to whether Creole English is fitting and appropriate for certain uses. There may be attitudes of celebration, pride and confidence and on the other hand shame, contempt and ridicule of the language one speaks. Code switching or adopting the variety of English spoken also indicate specific attitudes to language. (Harold McDermott, 2003 CAPE Student Workshop)
Communicative behaviours refer to communicating impressions to others unconsciously and inevitably. The six elements which are included in this activity are:
* Vocalics: the use of volume, rate, tone and pitch of the voice to give dimension to meaning
* Proxemix: the use of space to communicate
* Artefacts the objects that relay a message about you
* Movement: the posture, gesture, eye contact, facial expression that say something about you
* Chronemics: the attitude and use of time that communicate something about you
* The five senses: these convey information to you about others (Harold McDermott, 2003 CAPE Student Workshop)
Internal assessment analysis of the reflective section
By Debbie Harris, Contributor
LAST WEEK I gave you a one-act play and suggested that you try to apply what you understood from the given notes. I am presenting the play again this week for your convenience as I provide you with some observations I made on the piece.
(It is 1:00 in the afternoon and Keisha and Rhona are waiting at a bus stop in Constant Spring with scores of excited holiday shoppers who themselves are eager to get on the first bus destined to Port Maria via Highgate in St. Mary.)
Keisha: It is always so difficult to get a bus at this time of the day.
Rhona: That is why I told you to let us take one of the robot taxis. In no time we would get home...
Keisha: Dead, dead, dead!
You don't seem to realise that these guys drive like mad men.
We would reach home but probably injured or dead. I don't like driving with them.
Rhona: all right, get ready for a long wait then, because not only are there very few of these buses but also they are packed from downtown, so that there is no room by the time they get up here.
(Just then a bus careens around the corner and Keisha and Rhona both wave vigorously for it to stop, but the bus only slows down for the driver to select another gear and then speed up again)
Rhona: See! What did I tell you? Keisha: That was just the first one.
We will get onto the next one.
Rhona: Mmmmhm. (She rolls her eyes and faces the direction in which the bus headed)
Keisha: (confidently) All right... here is another one!
(This bus does not even slow down, and much to Keisha's annoyance the conductor, who seems to be just dangling from the door, blows her a kiss and yells at her)
Conductor: Mi wi bi yuh lover boy yuh nuh! Anytime yuh want!
Rhona: (laughing): Ah... Ahhhh! Now there was an ambitious young man! I had better try to get a seat for I will be here for sometime yet. (She eyes a seat made vacant by an elderly lady)
(Just then an empty robot taxi comes to a screeching halt at their feet. The driver shouts, 'Come eena dis!' Eight persons file in and the taxi speeds away)
Keisha: Those are who you want us to travel with?
Rhona: Why not? At least we would soon be home.
It is now 1:39!
Keisha: I don't need to be subjected to that kind of poor behaviour. Did you hear how he invited the people to travel in his taxi?
He has no self-respect. He could have at least tried to use English.
Rhona: But, Keisha the behaviour on the bus that you are waiting to take isn't any different!
Keisha: At least I won't have to sit so close to everybody. (Another robot taxi comes to a halt at the bus stop and three persons get in.)
Rhona: Do you know that you are a snob?
What is wrong if you are squashed a little, it is not our living room! (As she says this to Keisha she pulls away from the elderly lady who has returned to her seat but finds her sitting there.
She places a shopping bag between herself and the lady)
Keisha: And you call me a snob! (Keisha shakes her head in disbelief) (A bus with several empty seats comes to a stop and all the remaining commuters dash towards the door. Swiftly Keisha forces her way almost to the entrance.)
Rhona: (yelling) Keisha, save a seat for me!
(Just then a woman pushes Keisha forward and her bags burst and the contents fall to ground)
Keisha: A wha duh dem hooligan yah? Oonu cyan wait till a fi oonu time.
Look ow yuh dash weh mi sinting dem! (Frantically she picks up her purchases, meanwhile other commuters push and shove their way into the bus.
As she picks up the final item the bus drives away)
Rhona: (yelling from the bus step) Keisha, si one taxi deh.
Nuh mek it leave yuh!
Keisha: (climbing into the back seat of the taxi which had four persons already seated in it.) Wait fi mi a Highgate!
Here are a few things you should have derived from your analysis and application:
a) The registers are informal and casual.
The familiarity with which Keisha and Rhona speak indicates that they are obviously friends or close relatives. We know this because of the subject about which they are speaking, that of waiting for a bus to get home as well as the context at the bus stop with excited holiday shoppers. Although they are using standard Jamaican English for the most part, it is informal because it is a conversation in which there is the use of interjections, such as Rhona's, Mmmmhm; and Keisha's, Dead, dead, dead! could not be described as a complete sentence but one in which meaning is understood by the speakers involved.
b) The dialects vary between Standard Jamaican English [SJE] acrolect and Jamaican Creole [JC] basilect, for example Keisha's, All right... here is another one! might be considered SJE while the taxi driver's, Come eena dis! a JC dialect.
c) The young ladies attitudes towards both the SJE and JC are revealed in the negative manner and positive manner in which they use them. Keisha associates good taste and decency with speakers of SJE and the converse with JC speakers. This is evident in her description of the taxi driver as behaving poorly, having no self respect and not trying to use English when he shouts, Come eena dis. It is a striking contrast to the beginning of the play when both begin to speak JC towards the end and we understand even more clearly how cemented these attitudes are because it is in aggravation and annoyance that the women blurt out what appears to be competently spoken JC which was previously scorned. A similar attitude is displayed by Rhona when she describes the conductor as an ambitious young man for having blown a kiss to Keisha and yells, Mi wi bi yuh loverboy yuh nuh! Anytime yuh want!
d) Bearing in mind that communicative behaviours refer to communicating impressions to others unconsciously and inevitably, you should be able to identify several examples in the Act. One example is, Rhona rolling her eyes and facing the direction in which the bus headed. This indicates her frustration with Keisha's insistence to get a bus rather than take a robot taxi. Another is, when Rhona pulls away from and places a shopping bag between herself and the old lady. This signals distance and reveals her condescension and disdain for the woman. This description could fit Keisha's comment when, in reference to the taxi driver and perhaps his passengers, she says, Those are who you want us to travel with?