S MOVES An Introductory Course in Teaching English By Dave Hopkins & others for TEFL International www.feflintl.comWith special thanks to the following: Mare Helgesen for reading the draft, commenting and allowing the insertion of some great ideas. All other authors who have added their research, experience, thoughts and beliefs into this book Kengidesu for designing the artwork for our collection of published materials for TEFL InternationalTABLE OF CONTEN Teaching Resources Introduction Behaviors, Choreographies, & Principles Language Learning & Language Acquisition The Basic Paradigm e Warmers © Context & Contextualization © Core Materials = Core Listening Materials * Core Reading Materials © Controlled Practice = Listening Activities * Reading = Writing © Vocabulary Expansion © Communicative Activities Lesson Frameworks © Basic © Expanded © Text Based ° Content Based * One-to-One Appropriate Language Chants and Songs Theatre Techniques Blackboard Techniques Noticing Errors Highlighting Grammar Classroom Management Evaluating Texts Adapting Course books A Dogma for EFL Other Considerations * Content Based Instruction © Cultural Awareness Testing Lesson Planning enna lL 23 28 29 33 42 49 58 63 64 65 66 70 73 77 80 3, 87 OL 97 108 112 117 119 119 134 147 151TEACHING RESOURCES ‘The materials in this section are resources for teaching, and language awareness ~ i.e. grammar and phonology. They are class notes for TESOL Certificate and PELT inputs, and in most cases incomplete without class tuition or video input. How Do You Like the Neighborhood 161 Exercise - Listening Activity 162 Smart Moyes — Reading Activity 163 Chants 164 Songs (Singing Grammar) 165 English for Academic Purposes 168 Context Dialogues 174 One to One Teaching 183 Teaching Young Learners 186 Picture Models for 1-to-1 188 Grammar Section 197 Words Classes 199 Simple Sentences 202 Complex Sentences 207 Verbs: Tense & Time 212 Aspect & Conditionals 216 Modals, Phrasals & Voice 220 Opinions About The Teachings Of Grammar 225 ‘The Role of Grammar in Teaching Languages 227 Phonology Section 230 Phonemics 231 Transcription 241 Place & Manner of Articulation 242 Rhythm & Stress 248 Intonation 254 Connected Speech 258 Text & Materials Correlation Reference Guide 263 Appendix A - Phonology Distance Learning Pack 264INTRODUCTION Not another English Book! Indeed, not at all. In this new and exciting text, Dave Hopkins has managed to make the leap from the same old tired textbook Aled with the same old tired content, into an important new arena. SMOOTH MOVES is not a text about content, grammar, and language utilization. SMOOTH MOVES is not a A vhat to teach” textbook, itis an entry into what to do in the classroom, on a daily basis, to facilitate language acquisition. Dave has put himself in the place of standing beside the classroom teacher, helping to find ideas, techniques, styles, games, and approaches (all “moves’) that fit within a contextual paradigm setting the stage for students to use new language. It is a ook that fills in that enormous gap for teachers who know the content but need help to bring the process alive. From entry warmers to setting the contextual framework io focusing on student - student interaction as a moving classroom force, you'll find SMOOTH MOVES a great classroom companion. Ea.| For PELT Trainees: Please watch DVD #1: Class Information, Procedures and Forms BEHAVIORS, CHOREOGRAPHIES AND PRINCIPLES This book is about “doing” things. Specifically, the things you “do” 10 facilitate language acquisition with students who do not speak English as their first language. As Donald Freeman says, “Good teachers know what to do.” Smooth Moves will present the behaviors and choreographies that can be employed in a classroom to facilitate language learning. It provides the behaviors for effective teaching, and when linked together in lesson frameworks, the choreographies to facilitate learning. The comparison to dancing is more than a cute metaphor. Like dancing, teaching requires that you learn some body movements and choreographies that are not natural for most. Learning these behaviors and choreographies requires the same neural-motor skills as dancing. The only thing missing is the “music” that is provided by the interplay between students, teacher and text that constitutes the real teaching-leaming situation. While anyone can learn to perform the steps, dancing to the music may take some time and experience in classrooms with real students. The goal of the Smooth Moves is to get you into the classroom with the “moves” you need to work with. The rest is up to you and a lifelong leaming experience called teaching. What about methodology, techniques and approaches to language learning? It is evident that talking about language and grammar rules is not a sufficient or even necessary condition for learning language. Equally, talking about language teaching ideas and methods seems an unlikely condition for learning to teach. Put another way, good teachers know what to do, It is not necessarily true that they know why they do certain things, or what makes them effective. Smooth Moves will present “what to do” based upon things that work most of the time with most classes for most teachers. These “toves” are based upon principles of language learning and teaching that are found in “communicative language leaming” classrooms. While every teacher might not agree with the specification of the principles below, most would agree that they represent strong trends in the Teaching English to Speakers of Other Languages (TESOL) community. © Language is most likely to be acquired when it is presented in a real life context - For Example; a communication situation known to the learner. © Language leaming is an innate process based upon intemal processing of comprehensible input (understandable listening and reading), not externally created and packaged for the learner in lessons and books. © Language teaching focuses on “process” not “product.” * Error is a natural part of the learning process and indicates that learning is taking place. Correction should be acceptable, understandable and doable. sual and auditory input are critical to the learning process, whereas practice and production (particularly speaking), are more related to intemalization and processing output.= Language has to be “modeled” for meaning and form before the learner ¢: expected to use the language. Competent production may lag considerably behind comprehensible input. © Affective factors, like risk taking, put severe limitations on spoken language performance. Students need to develop their affective competence. + Peer practice is more effective than teacher to student practice because of time availatile, the reduced risk of dealing with peers, and, “scaffolding” ~ output processing through comparison of forms. «A collaborative learning atmosphere is more productive that a competitive one to reduce affective risk, to encourage language usc and to build positive reinforcement. © Meaningful repetition of Jangudge forms within an understandable context is a necessary condition for learning. This means that target language needs to be modeled in a variety of modes, - Listening, and reading co texts — before it is learned. + Language is most likely to be learned in a context where the focus is upon the message rather than the language itself. Language learners learn best when they forget they are leaning language. Personalization is a key element in leaming. This means identification with lesson contexts, and “choices” about what and how language is to be learned. © The emotional engagement of the learner is critical for personalization of language learning contexts. * Creating felt needs for language learning in a supportive environment is the job of the teacher. Teachers who blame students for poor motivation have missed the point. © Grammatical form and accuracy are essential to clear communication and Jearning, but should not be the sole focus of language lessons. © Noticing grammar, looking at form, usage and function, may be 2 useful strategy for learners © Understanding is a combination of context, co text and the degree to which the learner is emotionally engaged in the learning process. © Language needs to be presented in “chewable” bites, appropriate in amount and content to the learner's needs. Enough to challenge, but not.so much as to overwhelm. Web sources for Principles for Teaching http:/eslinfusion.oise.wtoronto.ca/principles.asp Principles for teaching English learners in the mainstream classroom by Russell Gersten, Scott Baker, and Susan Unok Marks. hitp://www_usingenelish.com/amazon/us/0130282839 html Teaching by principles by H, Douglas Brown. hutp://www.amazon.com/exec/obidos/tg/detail/-/0194355748/104-8309305- 7575931 ?v=glance Techniques and Principles in Language Teaching by Diane Larsen- Freeman.LANGUAGE LEARNING AND LANGUAGE ACQUISITION [2 For PELT trainees: Please watch DVD #2: Introduction to English Language Learning H, Douglas Brown The distinction between “language learning” and “language acquisition” has been brought to us-by researchers in linguistics, psycholinguistics and cognitive psychology notably by Steve Krashen, Noam Chomsky, Steven Pinker and others — and through studies of both first and second language learning. More significantly, the majority of people who learn another language do so without teachers, books or clissroom study. ‘They do it by being exposed to comprehensible input that is for some reason important to their lives ~ trading, traveling, studying or working. They do it not by thinking about learning language, but by using new sounds and systems to communicate something of importance to them. We might do well to look at this phenomenon since these “non- students” are relatively more successful in their task than the majority of formal language students. The critical difference is the focus on the “message” rather than the medium or code used to transmit the message. To summarize: incomplete ordering of the sequence of acquisition of linguistic features ‘Acquisition Learning a Similar to the process of leaning L1 | a Learning process is not like leaming L1 (rst or native language) a An intuitive process a Conscious process a Implicit knowledge a Explicit knowledge |a Speaking without thinking about it. | a Thinking before speaking | Formal teaching does not help much | a Formal teaching helps a Strongly influenced by affective | a Notas dependant upon affective factors factors a Peers have a more important} a Teachers or parental figures are more influence than teachers or parental| — important than peers figures @ Language is acquired in a “context” | a Language is often de-contextualized. for that is understandable to the learner drills and exercises a There is a discernable, but as yet }a There is no attention to what is’ known about the sequence of learning different linguistic features Another way of looking at this distinction may be the following. Native speakers have a built in “feel” for what is right or wrong in language. * Tove to swim. + Lenjoy to swim. While the second sentence is a logical extension of the first, native English speakers know it isn’t right.TASK * Why do native speakers know the second sentence is wrong? © What does this tell us about “acquisition” versus “learning?” Itis an underlying principle of this text to bring language teaching closer to the “natural acquisition” of language characterized by first language learning (L1), and to reduce the type of “leaning” practiced in many classrooms where second languages are taught. To do this there will be a strong emphasis upon, language context and modeling of language. Natural language as it occurs in real life Encouraging leamers to participate and make choices about their learning Leaming grammar and vocabulary in context Repeated and varied language models for accuracy, rather than correction Maximizing peer interaction to allow students to observe, hypothesize, experiment with language — i.e. scaffolding as output processing for language development ‘+ Focus on the “message” rather than the “language” * Emphasizing the emotional engagement of the leamer * Giving the student time to digest input before requiring production eee Web sources for How Language is Acquired hitp://Avww-usingenglish com/amazon/us/0130282839.html A great article by Steven Pinker on how language is acquired. hitp:/vww .usingenglish.com/amazon/us/(0130282839.html A quick thumbnail sketch of the idea of “acquisition” and why itis so important. hitp://privatewww.essex.ac.uk/~veook/slabib.html A very comprehensive bibliography hutp:/vww.sk.com.br/sk-krash.html A brief introduction to Steve Krashen’s ideas about second language acquisition in English and Portuguese. ‘http://www.cslminiconf.net/ An index of the ESL Mini-conference Online articles. This ig an excellent discussion between Krashen, O’Neil and Bill Van Patten about language acquisition theory.4, Trainees’ language usage in al their written work, as well as their TP, will be assessed, and will form part of the overall assessment grade for this component of the course This includes the trainee's skills in the use of English © grammar, spelling, punctuation, and % luency of expression ASSESSMENT TASK WEIGHTING Each trainee will complete the following assessment tasks, for which the assessment criteria are detailed in the foregoing section, and + the weighting of the assessment, in the overall course grading system, is given below. (1) Phonology Test Grammar Tests Language Awareness Application and Language Usage 15% (2) Foreign Language Journal 10% (3) Student Profile 10% (4) Materials Compilation Project 15% (5) Teaching Practice 50% COURSE GRADING Each candidate who attends the course will be awarded one of the following final grade levels: PASS FAIL RECOMMENDATIONS 1 A fully capable teacher prepared for full-time classroom responsibilities without supervision in any situation or level. This individual needs no supervision, and can continue 10 develop their teaching skills independently. In most cases, this will be a person who has taught before entering the course, and has made extraordinary progress in incorporating the approaches and inputs in the course into their teaching Potentially a “lead teacher.” I “Acapable teacher who can teach at most levels, but needs normal supervision and should continue to participate in formal teacher development sessions as possible. It is, recommended that this person be involved in collegial observations and coaching to continue to focus on the teaching/learning process. Il A developing teacher who needs supervision and mentoring to further develop their classroom skills. This person should be assigned a “lead teacher" mentor, and should be required to attend teacher-training workshops as much as possible. A collegial partner might also be assigned to assure that the teacher receives on-going support for their efforts2) The human “disposition towards variance’ — ie, a natural tendency towards variation in expression - requires language to be modeled and practiced in different mediums and skills. This shows up in two ways at least a) Language that has been modeled as a spoken dialogue might also be modeled as a listening activily, a reading and then practiced in writing and speaking. These might also be seen as a review steps, although the idea of remodeling seems more descriptive. There is no doubt that in practice teachers realize the importance of an integrated skills approach ~ speaking. listening, reading and writing - for developing language competence. The order of skills in practice activities is refreshingly variable, including, Listening > Speaking P — Reading > — Writing Reading > Writing DP — Listening > Speaking Writing > — Speaking > Listening ® Reading Reading > Speaking > Listening ® Writing or any other combination. In fact, effective teachers and textbooks, vary these combinations continuously to keep the learners attention. b) Speech pattems, as well, seem to obey a ‘variance disposition’ as we seldom repeat ourselves, except when we re-script language for the classroom. The following questions would be better suited to the police station than the English classroom. ‘© Where do you want t0 g0? © What do you want to do? © When do you want to go? More likely this dialogue would include variations such as, = Where do you want to go? ‘© What are you going to do there? © When would you like to go? This natural variance helps to suggest how to make language in the classroom more natural, and keep things lively with alternatives in both the activity and the target language. In sum, there is a basic logical paradigm within any effective language lesson LANGUAGE MODELS LANGUAGE PRACTICE Language is modeled and then it is practiced. However, the modeling and practice of various language items often overlaps. In other words, as we are practicing one bit of the target Ianguage, other bits may be presented in a modeling stage. Thus, defining the modeling and the practice stages varies depending upon what bit of language we are referring to. 10Web sources for Task Based Learning and Learning Teaching hito://www.ihworld.convihjoumnal/implementing_a task based_%20approach_pete%2 0 moor.doc An article from Peter Moore at International House London on the Task Based approach, which is compatible to what is outlined above http://www.teacherdevelopment.net/Books/earning-teaching.htm Web source and quick description of James Scrivener’ s Learning Teaching, Heinemann Warmers Warmers Context Core Controlled Vocabulary | Communicative Getting, Tobegin | Materials | Practice Expansion students focusing | Acore of | Opportunities | Additional s ‘comfortable, | on material - | to use the vocabulary | the language to inieracting | predictable | dialogue, | target added by “do” something — andusedto | concepts | reading, | language with | the teacher | i.e. play a game, basic and listening | lots of or the find out routines language. | orother | supportive students to | something, or to build cues from the | build on and | solve a problem. on teacher, expand the | The message is the board, core focus rather than pictures, etc. | material. the language at | this lesson stage. These are short 5-10 minute activities at the start of the lesson intended to: © Get the students talking and interacting, * Practice “known” language © Review previous materials Focus on the topic of the lesson © Introduce behaviors and choreographies to be used during the I © Let the teacher get a feel for the class Getting the students “activated”, focused and interacting might be another way to describe this lesson stage. The absence of a warmer will often be felt later in the lesson when the teacher expects the students to talk with each other using more challenging language. The inability of the students to talk with each other at later stages may reflect the fact that they have not been introduced to the idea of peer language practice. Thus, it is critical that the warmer be ‘known’ language — ie. something they can be expected to know since it is much easier than the current lesson, something that is often used in class, of a teview of basic language from a previous lesson. The idea is to give the students “success.” The warmer should not be used to ‘test’ the students. The warmer should relax the students and give them satisfaction of understanding and responding to language they are familiar with. Occasionally, teachers express concern that warmers — like, Hi. My name's Dave. What's your name? My name's Nice to meet you Nice to meet you 100. Shee are too easy and boring for the learners, raThis could be true, but is often more a reflection of the teacher’s tedium with using the same language. For a class of teenage high school students in rural Thailand, the above warmer is one of the few extended exchanges that are possible, doable and likely to offer some feeling of satisfaction during initial class meetings. Warmers have the rather onerous task of trying to loosen up the students (get them to interact comfortably and with minimal risk), provide a focus for the coming lesson, and, set processes (behaviors and choreographies) that they will be used to when faced with more challenging language practice. Thus, be careful not to make them too brief or unplanned. At the same time, a warmer is not an excuse for excess teacher talk or ‘prefacing — e.g. * Today we're going to talk about things we do at the bus station. I remember one time when Iwas at the bus station... Lis important to get right into the lesson or warmer stage at this point with a T/T model (several times) followed by T/S > S/T S/S question and answers. It is true that not all warmers are dialogues, but there should be some variation in the pattern of exchange between students and teacher. Choosing a proper dialogue for a lesson warmer is important. It needs to be ‘known’ but also needs to focus the lesson. This requires knowing the students well enough to predict what language they will be able to handle easily in the warmer, but will also begin to focus the lesson. For example, if the upcoming lesson is about My Neighborhood, the warmer might be, Where do you live? If the lesson was about Jobs in the future the warmer might be, What do you do? It should not be, What do you want to do? Since this would presuppose the language of the core lesson. In other words, the language used in the warmer will be related to the idea of the lesson, but not “presuppose” the target language by expecting the students to produce the language before it has been modeled and practiced. With beginning students you might ask, DO YOU LIKE SWIMMING? But, the question, WHAT SPORTS DO YOU PLAY AFTER SCHOOL? might presuppose the lesson. Some warmer activity possibilities Name games + Simple dialogue exchange T/S > S/T > S/S choreography with greetings as described above. Best done with new students when you and the students are getting to know each other. © Throw the ball (a virtual ball is good here) around the circle. Really a choreographic variation that allows students to chose who they want to talk with. Make sure students actually use the dialogue that the teacher has modeled, and it doesn’t become a dodge ball game. © Memory games. T/S, S/T and S/S questions but with a short-term memory element to make it more challenging. For example, - The teacher begins by asking students what they do for exercise - Then the teacher changes the question so that students have to remember what some other student has said. What does Pat do for exercise? 12Songs & Chants are (see “songs & chants” section) an excellent warm up activity, but make sure that the song or chant is simple, and focuses on language functions that will be used in the lesson, such as those found in Carolyn Graham's Small Talk. Also, be careful that it warms up the students, but does not over excite them or just provide entertainment and distraction Word families, maps & trees: eae rmmin; sunglasses [bss onaiah| ‘Hot dogs Fo Students work in groups of 4-5 to add words and ideas to poster paper. This is particularly useful at the post beginner stages when students can collectively generate much of the language to be used in the lesson. It’s alright if much of the group talk is in the 1” language, as long as they produce a poster in English that can be shared with other students and provides a resouree for vocabulary expansion. Studies on the effectiveness of group work in all L2 of a combination of LI and L2 show little difference. Some More Ideas Imaging — Imagine that you are...in a park, waking up, meeting a friend, exc ‘Whispers — Students whisper a message student to student through a line. The last person in the line writes the ‘message’ on the board. With two or more lines this can be a contest. Pretend - that you are 10 fect tall, tired, blind, waking up, scared, etc. Name the sound — pairs / groups try to guess the sounds on a tape recording. Living sentences — Teacher passes out word cards and students arrange themselves into sentences. Charades. Students act out what the teacher or another student says. Warmers from Mare Helgesen. THIS IS FOR YOU Preparation: get a few soft es objects that are easy 10 throw and catch. I prefer medium sized stuffed animals. They don’t bounce away like balls do. You'll want 3-4 per groups of 10-15 students). 13,What to do: © On the board, write, This is for you, (name). Thank you, (name). = Students stand in circles of 10-15. Start by going around the circle, Everyone introduces themselves. © Give a stuffed animal to one student. She reintroduces herself’ (I’m Mai.). Then she says, This is for you, (name) and throws it to that student. © That student says, Thank you, Mai, I’m Emi. This is for you, (name). and throws it to another student. * [Lis a good idea to have them make sure everyone has gotten the animal once before there are repetitions. There will be times they don’t know someone's name. They just look at that student and gesture that they need help with the name. That person says her name. = Once everyone has received and thrown the stuff animal once, the fun begins. ‘Ask them to follow the trail — they throw it to the same person. Introduce the second and third stuffed animal. Leave a few seconds delay between cach one. They continue to say, This is for you, (name). Thank you, (name), each time they throw it. © Suggest a bit of silence. They continue to throw the animals but the only think about the names. They don’t say them. This silent period really helps them concentrate on the names. Variation At this point, make it a free for all. They see how many names they remember. They call out the names and try to get that person’s attention (Mai! This is for you!) When they do, they toss the animal to that person. The animals no longer follow a trail. Creative chaos! At the end, give everyone a minute or two to look around the circle and see how many people’s names they know. AIL Tangled Up Preparation: You'll need the same 3-4 stull animals used in THIS IS FOR YOU. What to do: © Repeat This is for you (but don’t do the variation) with only one animal. Ask everyone to remember whom they got it from and whom they threw it 10. «© After a few minutes, stop the activity. The circles put away the animals and just mingle with group members for a minute or so. They can say hello, check on names, ctc. It is important that they move to different positions. © _ Then, ask everyone to freeze. They look around to spot the person they got the animal from and the person they threw it to. Moving as little as possible, they take the right hand of the person who threw it to them with their left hand. They take the left hand of the person they threw it to with their right hand. You should have a mess of bodies intertwined with their hands. © Let the fun begin. They have to sort out their circle and get back to a normal circle where they are standing holding hands. And they have to get there without letting go of hands. Some people (and pairs) will have to step over other or imder other people’s hands and arms. People will be moving in and out. At times it will be frustrating (try substituting the work challenging.) but it will work. © At the end, give them time to look around the group to see whose name they temember. If there is people whose names they don’t know, they ask, (RB) 14Circle This is Action Game sa variation on something you've probably been doing for years. Check = ge out the pantomime gesture aspect. It makes it a lot stronger. Preparation: (Optional) One soft object. (like the stuffed animal ls above) foreach group of 8-12. What to do: TASK TASK * On the board, write I’m (name) I like You've {name}. You like . Students work in groups of 8-12. Give the animal to one person. He introduces himself and says something he likes. (I’m Young Joe. I like skiing.) As he says what he likes, he makes a gesture demonstrating it. For example, he moves his body as if he were skiing or he uses two fingers flying down a mountain to represent a skier. Then he throws the object to the next speaker. (IF there is no object, he just points to the next speaker.) The next speaker must repeat the first speaker’s information and do the gesture before adding her own information and gesture. (You're Young Joe. You like ding. I’m Sue Soon. 1 like listening 10 hip-hop.) She adds a gesture such as a hip-hop dance movement or something to show listening to music. She throws the object to the next person who has to remember and repeat both Young Joe's information and Sue Chin's, The game continues. Everyone has to remember each person’s information and do each gesture: #2 remembers #1. #3 remembers #1 and #2, #4 knows #1, #2 and #3. #4 knows 1-2-3-4, ete, If someone forgets (no problem. It will happen.), the person gives a hint by showing the gesture. That is often enough to help the speaker remember the name as well as the thing he likes. If not, the person can give the information; either by speaking aloud or by mouthing the information silently (like lip-reading). Can you think of any other warm up activities that involve communicatio Design a two-line Q&A warmer for the following contexts: © Peis * Lottery © After school © Sports © Last weekend 15Web sources for Warmers huspsfwww eltnews.com/features/thinktank/O16_n.shtzal More Mare Helgesen ideas on using guided visualization for warmers or other stages in the Tesson hutpy/Avww.onestopenglish,conviefl_es|_warmers/index.htmn One Stop English webpage warmers site, This is a great source for lots of neat teaching stuff. For PELT trainees: please watch DVD# 3: Introduction to the Class Dave Hopkins | ‘And DVD#4: Warmers and Context Modeling Dave Hopkins Context and Contextualization Core Controlled | Vocabulary | Communicative Materials | Practice | Expansion | Practice Students |p fecusing |) A core of | Opportunities Additional This means using comfortable, |@m | | material — | to use the | Vocabulary | the language to interacting | predictable | dialogue, | target added by | “do” something ~ and.used to eOnespts! | reading, | language | the teacher | ie. play a game, basic and listening | with lots of | or the find out routines | Tanguage. _} or other i students to | something, or to build build on and | solve a problem. | on teacher, | expand the | The message is the board, | core | Horus rater than | pictures, etc. | material. the language at \ this lesson stage._| MODELING CONTEXT - Setting the context with ee Piotures or other visuals ~ e.g, map, stick drawings (pin people), photos, regalia J Sound sequence — background sounds, air pressure door release to indicate bus station, ete. “Audio tape — one-sided with teacher responding to tape, dialogues of narratives Mime, charade or gesture Combination of the above Dialogue co text — e.g. What time does the bus to Bangkok leave? Sets the context for the response, At 12:30. Contest - means the scene which surrounds a communication situation and, Contextualization ~ means creating a communication situation that is 60 clear in the student’s mind that he or she knows exactly what is said in that situation, just net in Pnglish. It is a picture that the Jeamer can see him/herself in, oF imagine her/himself being part of. 16Context means Personalizatio; kin, j j er mn, A: stude z their interests to the teacher and each ae Sperone wtaich allow 15.10. express * What sports do you like? © Whendo JOU get up? * What do you do after school? ° Where did you 80 last weekend? . Who is your Savorite person? It means that lessons will predict studen U's interests by including thin: s that are famili: and relevant to their lives, @ things that are familiar Context means localization, One place to start is with student—made maps. Students work together to draw maps of the school, nearby locations, their neighborhood, the downtown, the mall, and the Tegion. Lesson material uses local place names, landmarks, modes of transport, names, foods, etc. What do People do there, how do you get there, what should you do there? This does not mean that you shouldn't introduce new things, but do so with caution under the conditions that; * The new things are relevant to the student's lives * You start with where the students are, and them bring them to new things For example, a teacher in Thailand once asked about teaching a lesson using a picnic at Yellowstone Park as a context. She was anxious to impart some knowledge about her own culture and interests in a context that the students would understand. The problem was, in rural Thailand bears are not common, geysers are unknown and the landscape and scenery of Wyoming a bit hard to imagine. It was Suggested that she utilize the fact that the local beach was a prime picnic spot, and target her lesson on a beach picnic, This is an example of “localization,” and is not meant to say that there is never a time to teach about one's own culture and interests. However, start with where the students are, and move slowly into new areas as indicated by the leamers’ interests. Too often teachers - because of texts, out of a false sense of being cultural missionaries, or, just loncliness = teach irrelevant context and target language. Context means communication that can take place between two leamers and be logical. This is best demonstrated by what it is not. For example, two pee would be highly unlikely to have the following conversation. A: What kind of fruits do you have in Thailand? B: We have Durian fruit in Thailand. While this is a perfectly natural exchange, it doesn’t make any sense Jer sy speakers to say this to each other. Thus, it makes sees illogical and unreal, This conversation can be student “pretend” to be a foreigner. ? s Context means natural language that is not esenPen mae ay ¢.g. consistent, but unnatural use of some Lagat ci aE conversation is directed by the “context and not by ue ‘ grammar. It is; thus, more understandable since most meaning | upon context,Context has some definition and time and place. For example, AT THE CLINIC What's the marter? Thave a sore throat and a headache? How's your stomach? It's OB. Let's take a look at your throat... SDEDE It is very predictable what will be said in this situation as it is well contained in time and place, That is not to say that all converations must be defined in this way, but it helps! Look at the following picture. So. What did you do last weekend? Lae fs This picture helps to narrow down the possibilities of what might be being discussed between two schoolmates, but a number of topics are possible. The speech bubble is needed to narrow down the context language, and the ‘thought’ bubble suggests further possibilities. It is not necessary that context modeling suggest all the possible language that might occur. As a matter of fact, it is sometimes important to be ambiguous with models to allow the learner to speculate about the meaning. For example, to model a “Street Scene” it would be better to have people posed in a manner that could be interpreted in a variety of ways. Thus, in answer to the question, What is she doing? ‘The student could offer his or her own interpretation. It would be illogical to ask the question if there were only one possible answer. Picture “A” might be better than picture “B” since there could be various interpretations for What he is doing?TASK e What contexts could the picture below suggest? Modeling the context - GOING TO THE MALL 0 © Write the context Ging he il on the board to get students to focus on the topic Elicit to the blackboard the names of local malls as examples e Have the students design the floor plan and stores in a local mall or their own “perfect” mall. ¢ Doamime charade of the teacher walking through a mall © Play audio or videotape of mall sounds and sights e Draw or show pictures of malls and stores Any combination of the above is possible. In modeling context, it is important to involve the students, and not just make it a teacher show. Once the initial concept is established by example, get the students to draw and provide further contextual clues. Care must be taken to provide samples of language form, and not to expect students to know what hasn’t been modeled and practiced yet. In other words, elicit the names of places in the mall that are known in English, but supply the words or phrases in English when needed. Be careful not to ask questions like, “What’s this?” or “What’s a store?” unless you expect students to know the answer. This presupposes the lesson you are about to teach. Also, remember that students know what a “store” is, they just don’t know the form (sounds and script) for “store” in English. The trick is to bring the students right to the point where they know exactly what you are trying to say, and then saying it, so that they get the “form” of the language. In other words, setting the scene 50 well that “the students know exactly what the language is in that situation, they just don’t know it in English.” 19EXAMPLE In modeling the context for NEIGHBORHOOD the teacher might use the following steps. e Write the word in the board - NEIGHBORHOOD e Ask the students to close their eyes and take a mental trip around the neighborhood while the teacher narrates. (Imaging or imagining) ¢ Pass out poster paper and pens to groups of 3-5 students © The poster paper would show a neighborhood familiar to the students — i.e. around the school, downtown, a main road Bus Station | | School | Shop Clinic e This models the place names and the concept of the locations, but to model the location words the teacher needs to, e Give students cards with the names of the places, and have them arrange themselves according to the map — a “people map”, or lay the cards out on a table in this manner. e Then, the teacher models, NEXT TO, ACROSS FROM, BETWEEN, etc. e The clinic is ACROSS FROM the school. The shop is NEXT TO the school. Etc. Context modeling does not only come at the beginning of a lesson. In the above example of Neighborhood, the initial poster work begins to set the place names and the locations, This might be followed by conversation practice focusing on, A: Is there a bus station around here. B: Yes. There is. A: And, are there any shops nearby? B: Yes. There.are. Modeling and practice for the locations in this conversation will be covered in the next section. It is important to note that the poster work is followed by conversation work, which is then followed by more modeling to set the concepts of location in the “people map” —i.e. NEXT TO, ACROSS FROM. To review, modeling in context will be necessary whenever a new concept comes up in the lesson. Notice that it is “modeling in context.” While NEXT TO and ACROSS FROM can be modeled by having students notice the position of others students in the classroom as designated by the teacher, the context here is Jn the Classroom. To assure understanding of the location prepositions in the Neighborhood context it is best to model the locations In the Neighborhood since it seem highly likely that this is the way we remember them. 20Sie ornoed : » and we might go further to bring in 4Ssociations, which will add to the specification of the conleat Spee we want to involve as many ‘senses’ as we can in the definition of the context — sights, colors, sounds, smells, feclings, hovcold, what clothing, time of day, time of the ; place, with who and, including the emotional engagement of the leamer in that sian The mind and the body are collectively involved in our memory process and the more associations we can specify the better. Of course, this is different for every person, but no matter, since this is also part of the personalization process s For example, RESTAURANT... Imagine Colors? Smells? Sounds? Feelings? Clothing? Time? People? Mood? Transport? Later? Ete. The amount of English used and produced here depends upon the leamers. The rner’s response can be one word, pointing to appropriate picture models, or drawing pictures. Through guided elicitation, the teacher can assist the learners to recognize the language forms in English. Uhe teacher tries to get the leamers to connect with these feelings throughout the learning process, but it is extremely critical in the context Setting stage since this allows the leamer to ‘invest’ in the process. Mare Helgesen builds on this idea with Inner Voice. The idea being the variety of sub text that goes on when a dialogue occurs between two people. When building context with dialogues, the teacher can, * Have students practice the dialogue silently, acting out the roles : © Use gibberish instead of the words to develop the ‘feel’ for the context without the risk of making mistakes. Web sources for Sub Text See more on this by using your browser — mare Helgesen inner voice 2 Summary of Context Modeling ie © Write context key words on the board i ‘ dA, ie ae Imaging the scene for — sights, sounds, smells, feclings, light, ral ele. Mime or charades of the situation Elicit familiar and local examples ‘ Group brainstorming with poster paper % He , be Teacher models and highlights grammar points using pictures, script and speech Inner Voice activities eeceeeeContext, Modeling, Form, Meaning, Function and Co text Context allows the leamer to begin to predict meaning based upon models that represent concepts understandable in the learner's world. These concept models — a picture, sound, action or charade - are then attached to language form — speech or writing through language practice. A few definitions here to clarify the ways we talk about language and modeling. Context © Real-life situation, understandable to the learner, contains predictable language. ‘Modeling © Provides symbols or representations for concepts with meaning for the learner, Form © Sounds that make up spoken words and sentencs Meaning ‘© How we understand the word in a particular context and co-text —e.g. I suspect, as opposed to, The suspect. Function © The reason for speaking, such as Apologizing, Making requests, Taking a phone ‘message, ete. Function is usually tied into co-text as in A: Thave a problem B: What's the matter? The function being: Asking abour a problem and the co text being the restatement of problem as: What’s the matter? Co text, The meaning derived from the collocation of words in a sentence - The parked (adjective) car vs. He parked (verb) the car - or references between words in a number of sentences, such as, Ithadn’t started out well, What was supposed to be a fun weekend began with dark, ugly skies and the smell of impending rain that presupposed disaster It and What both need fun weekend to give them meaning. That redirecis us 10 the previous description of the day to give meaning to the phrase that follows, presupposed disaster. These “references” both within the sentence and across sentences are what we mean by “co text s, or their written symbols. Another example of co text helping to sort out meaning occurs below in the Setswana dialogue. A: O tohile jang? How are you? B: Ke tsohile sentle. Rra I'm fine, and you? Owena? A: Senile rra Fine, thanks. While the context of greetings is made clear by pictures of role playing, and co text is used to compare the O and Ke to sort out you and 7, and the repetition of the word sentle to make the fine predictable. The process of elimination can also deduce the other meanings, 22Context, form, co text, and function are integrally connected in language to give us meaning. It might be scripted as follows: CONTEXT + MODELS {concept symbols + form} + COTEXT = MEANING In classroom terms, the context is a situation, preferably specified in time and space, which allows learners to begin to predict language concepts that will follow. For example, Ar The Clinic suggests things like doctor, medicine, nurse, and white coat. Further models of concepts and form like, What’s the matter? will be needed to bring the language to thé learner. Expanding this language and vocabulary will require further modeling of ideas like, sore throat, headache, skin rash, and cough to develop useful language practice in this context. The co ext is the collocation (comparative location) of words and phrases in the body of language, which communicates the language situation — ie. a conversation, dialogue, or reading selection — for example, as previously suggested: What's the matier? Asked by a person in a white coat in a location that is clearly a doctors office, suggests that what will follow will be an ailment like, I have a stomachache. Web sources for Setting Context hitp/Avww.eltnews.com/features/thinktank/025_Imbh.shtml Using different senses in language learning by Mare Helgesen. Core Materials Warmers | Context | Gore Controlled | Vocabulary | Communicative Getting To begin | Materials | Practice Expansion | Practice students | focusing | Accore of | Opportunities | Additional | This means using comfortable, | on material —| to use the | vocabulary | the language to interacting | predictable | dialogue, | target added by | “do” something — and used to | concepts | reading, | language the teacher | i.e. playa game, basic and fistening | with lots of | or the find out routines language. | orother | supportive | students to _| something, or to build | cues from the | build on and | solve a problem. on. teacher, expand the | The message is the board, core focus rather than | pictures, etc, | material. | the language at LL i | this lesson stage. . Modeling core materials means getting across the main ideas and concepts in the lesson. Core material is the source language of a lesson. There may be one, or more than one, in a lesson. At the beginning level, it is likely to be one — often a logue. Texts often have a number of core “conversations,” “listenings,” and readings” in each unit. Modeling means presenting the language concepts (meaning) to the students by illustration, demonstration or example. The students should be able to predict from the modeling the key ideas to help them understand the language “forms” to be presented in English. For example, if we show a picture of a doctor and a patient, and then model, “core” source’ di A: What's wrong? B: Ihave a stomach ache, (While the teacher rubs his stomach and grimaces) It’s fairly predictable that the student will understand the language being used. 23At the modeling stage it is not expected that the leaner will be able to produce the language. This production should increase as we move from modeling, to controlled practice, and then to more communicative practice. Conversation There are various ways to model dialogues in front of a class. The ‘teacher to teacher’ role-play shown could also be done with puppets, a hand sock puppet, by changing hats, or with masks, but the basic idea remains the same. ‘Teacher to Teacher (I/T) Charade ‘* The teacher speaks the first line(s), and then changes to the position of the other speaker and speaks their line(s). on EOS ues) a a Picture cards are useful in supporting the +<—_ modeling here. While the teacher should continue to face the imaginary other person, the cards must face the class. i To do this convincingly, the teacher must mime the actions and expressions of the two speakers, and face the imaginary other person as if they were there. Looking at the class will make the charade less natural. Equally, it is important io keep intonation and stress natural and consistent. The T/T charade works best with relatively short dialogues at beginning to lower intermediate levels. Do not slow or over enunciate the lines. Clear voice projection is important so that the class can hear the modeled language. The teacher should do at least 3-4 T/T models before going on to the teacher to student, student-to-teacher and student- to-student models covered below. One-sided Tape (Tape/T) Charade © This is a useful variation that will draw student interest and can be used with longer dialogues and higher levels. The teacher records the “A” portion of the conversation on tape with sufficient blank space for the teacher to respond. In making the tape always make the tape the “A” role, and silently and slowly respond twice to leave adequate blank space for the responses. Again, do not slow or over enunciate the lines. The dance step looks like this. Once again, picture cards are useful here to strengthen the model. Pe | Ateape co player 24Once the teacher gets used to talking to the tape player, this procedure makes the dialogue modeling much more realistic and natural. This supposes that the tape is clear, loud enough to be heard clearly in the classroom, and has sufficient pauses to allow ‘spaced’ but natural responses. As above, 3-4 Tape to teacher models are needed before going on Note that context setting is also an optional extra here. A one-sided tape that starts with, Wrrroooommm! Wwwrrroooommm! (motorcycle engine being revved) And then goes to the following conversation with the cycle engine rumbling in the background. Where’re you going? I’m going to the market. How're you going to get there? I'm going to get a motorcycle taxi. What are you going 10 do? I'm going to buy some fruit. Seo e Dh Ina place where motorcycle taxis are the norm, the context is quite clear as the student can imagine him or herself in this situation. TASK How could you set the context in a place where “taxis” were the most common choice of transport? Teacher/student (T/S) to student/teacher (S/T) to student/student (S/S) questions = TIS > S/T S/S - Qs This is the beginning of “controlled practice” activity following T/T models. The teacher should choose the students who are most ready and able to speak, be patien with partial or delayed responses, and move on to other students smoothly, if a studen is unable to respond or initiate, The dance steps are important here as the teacher start by asking individual students (T/S), then asks students to initiate the question (S/T), anc then, asks students to ask each other (S/S). The sequence is important sinice initiating the question is usually harder than answering with a statement. Thus, the teacher goes first, then the student initiates to model and practice, and finally, two students mode (allowing the students to choose who will be the initiator), This is important as natural human discourse allows us to choose who will initiate. Body position is important, with the teacher roughly 45 degrees to the student rather than facing the student since this is less intimidating posture. As well, it allows the teacher to monitor the rest of the class and ask for peer help. Getting other students to assist in the response can be helpful, and encourage collaboration, but care must be taken not to embarrass further the. student or the spot. Moye on to another student or remodel if the response is not forthcoming in : reasonable time. \ (0‘The number of times for T/S, S/T and S/S will vary depending upon class size and level, but should be somewhere between 3-8 times. If students are unable to respond or initiate: * Look encouraging and back off a bit. * Ask other students to help * Go on to another student or remodel T/T Remember that this is practice for the students participating, but modeling for the rest of the class. Thus, make sure that the class can sce and hear what’s going on Eliciting to the Black Board * This should follow the steps above. It is important for the students to develop an aural model before seeing the script, This aids discrimination of the sound patterns, and avoid confusion from 1 or 2™ language script. The key idea here is to elicit word-by-word, This is the point where you catch up those students who are not getting the models or making errors. Literally, get students to say each word, leaving blanks for missing words or error. Then the teacher can go back and input the needed models. DO NOT CHORAL OFF THE BOARD ~ i.c. have students respond in unison. Get individual studemts to offer words by calling on them, or initiate a general clicit indicating that students may call out answers, “SS SS WHERE...ARE... YOU...GOIN G@? (Individual students, not chorals) ei Ga Conversation as a Listening Tape © Most texts offer this option, as the conversations in the book are usually ayailable on cassette or CD. The important thing here is to focus the listening, and not presuppose the lesson by asking ‘testing’ questions after the tape is played. 26The dance steps go like this. Referring to the dialogue. (RRRROOOMMM, RRRROOOOMMM!!) A: Where’re you going? B: I’m going to the market. A: How're you going to get there? B: I’m going to get a motorcycle taxi. A: Whar are you going to do? B: I'm going to buy some fruit. 1“ Focus question — Whar do you hear? © Play tape © Focus question again ~ Whar do you hear? «Students talk to each other * Blicit to the board 24 focus question — Where's he going? © Play tape '* Focus question again — Where's he going? © Students talk to each other © Elicit to the board 3" focus question — How’s he going to get there? Play the tape ‘+ Focus question again — How's he going to get there? + Students talk to each other + Blicit to the board 4" focus question — What's he going to do? * Play the tape © Focus question again — Whar's he going to do? Students talk to each other Elicit to the board The answers are likely to be single words ~ market, motorcycle, ...fruit ~ and that’s OK. We're not expecting to student to reproduce the whole dialogue here. Just 10 show some understanding of the key ideas and words. The responses can be facilitated with picture cards for beginning students Scrambled Sentences * Another fun way to model conversational dialogues is to cut them up into separate sentences, or phrases to make it more difficult, and have groups of students reassemble the dialogue. Somewhat more advanced students can do this using the shared knowledge of the group. Beginning students will need to hear a tape several times to assist them. Once again, set the context first and then, ~ Pass oul scrambles sentences in envelopes to groups - Play the tape check groups > reply tape ~ Groups reassemble sentences - Teacher coaches and mentors the groups - Students practice the lines of the dialogueThe dance steps here relate to working with groups ~ coaching and mentoring [eee Cea ‘The moves the teacher makes are represented by the above diagram, and should follow the criteria: Go to the group that is having the most trouble with the instructions first Don’t spend any more time than necessary with each group Move randomly from group to group if possible Encourage, model and clarity Don’t overcorrect, supervise or “colonize” — i.e. insist on your ideas Core Listening Materials Listening Activities For PELT trainees: please watch DVD 45 TT Listening Dave Hopkins Listening activities may be a conversation, or more narrative in nature. In addition to setting the context with pictures, it will be helpful to get the students into groups to discuss focus questions. For example, low-intermediate students preparing for a listening nasrative on The Mediterranean Diet irom the Quest series are asked to brainstorm in groups: What are the countries of the Mediterranean? © What are typical food ingredients? «Is the Mediterranean dict healthy? * Why? The teacher will monitor and coach this activity, and have the groups share their ideas on poster paper, or in the book if available, In another example, students preparing to listen to a tape about the “The Problems of Being Green,” brainstorm in groups: ‘+ What does Being Green mean? What do you do that’s Green? © What do you do that’s not so Green? © Why isn’t it easy Being Green? At this point the students might do a class survey, or even a school survey, using the questions above. Core listening materials will be more common at the high beginner/low intermediate and higher levels. 28Further activities might include: * A survey — ie. going around the class to complete a questionnaire like “Green” and “Un-green” things that students do © Groups presenting their posters to the class © A dramatized role play [__ For PELT Trainees: please watch DVD #6: Listening Strategies [ David Nunan Core Reading Activities Readings © Many texts leave readings until the end of the unit, and there is an unfounded belief that reading should follow speaking and listening activities. Except at very young or low levels where literacy is a question, there is no reason why reading cannot precede speaking and listening, It is true, that reading activities at a beginning level might not be as engaging as dialogues, although children’s stories would certainly run counter to this. Reading is much like a listening activity in that the key is to set context and prep the students so that they can begin to predict what they will read. Let's get specific. From the Matters Intermediate Unit 6 — Are These People Criminals? The article in the book talks about the things a family does that are not environmentally friendly. A series of steps to prepare for this reading might include: © Groups brainstorm — Green things you do? Un-green things you do? © Lists on poster paper * Acclass survey to find the most and the least green people in the class ‘© Look at the pictures in the textbook. What do they mean? «Find the paragraph, where the dialogue matches with the picture? Once again the core modeling flows into practice with the materials — the reading text is approached and manipulated in a variety of ways to practice with the target language Grids = Can be used to generate cither conversational material, or writing materials. They are appropriate from beginning to more advanced levels as long as the grid is supported with pictures and text. Pairs or groups generate the language into the boxes either by sharing their knowledge, or {rom teacher's cues. Once they have developed some language choices in each box, the teacher models the basic dialogue as above in T/T. A: What did you do on Saturday/Sunday? ea eee A: What did you have to do on Saturday/Sunday? B: Thad toSATURDAY SUNDAY DID HAD TO DO... Checklist for modeling core target language material ‘Tape to teacher models using picture cards (Tape/T) Background sounds — motorcycle — to reinforce T/T model and set context Teacher to student, student to teacher, and student to student questions* (TIS > S/T > S/S) Eliciting the target language to the board* Audio tape w/ focus questions as conversation model (T/S > S/T > S/S) Class surveys — interviewing fellow students with questionnaire Scrambled sentences with group work Prepped listening activity (The Mediterranean Diet) Prepped reading activity (Are These People Criminals?) Grids to develop dialogues with limited built in variation Inner Voice activities pre meee ays aS * These key steps should be used in sequence ~ i.e. T/T>>T/S>>S/T>>S/S>>BB TASK ‘* How would you model the following to get across the meaning? P'm sorry 'm late. What's the matter? I'm sorry. We don’t have any. Tea bags are on top of the shelf in aisle 3, What's your favorite movie? 30TASK ‘© What could you mode! with the following pictures? | \ Sounds for Modeling ‘A collection of sounds can brighten up modeling and add interest. EXAMPLES [Nature Machines | __ People Places Outside | © Rain © cars ‘sniffing * classroom |" dog | « thesea |* motor © laughing + street scene barking |e crickets cycle © crying = restaurant | * cock « thunder | © computer © sneezing = supermarket crowing © birds | typing coughing |¢ department |* taffic |e wind © buses © ouch!!! store ice cream © hotday |* mobile oq * internet cafe | man : wet day phone oH). = traffic = walking Yl tmotoroycke, |e A miss! .|% busstation |" running starting = market = skipping © car starting = playing © fan children [+ cash register_| | Sound models are underused and not hard to make. A small cassette recorder taken to real locales is an obvious start, and there are many sounds available off the web. Alan Maley’s Sounds Intriguing available from Cambridge University Press is another good resource for more elaborate background sounds from old movies. 31Summary ‘The focus of this section on modeling has been to explore specific ways that a teacher can model language. It starts with setting the context, or background for the situation, and then modeling concepts as they occur within the communication situation. Let us review briefly. Context is setting the stage from which learners can begin to predict meaning. Context is modeled through pictures, symbols, gestures, sounds or some combination there of. Written script is simply a convention that a language group agrees on to model the range of ideas possible in human communication. Tt is important here to realize, however, that words, in and of them-selves, have no meaning (!) Neither do words exist in the brain, unless we consciously project them there. Thus, written or spoken words are only models of language “form.” Models for meaning must come from the conceptual level of thinking found in pictures or other things that we associate with things or ideas to give them meaning. Models are the ways that we try to ‘get the idea across,’ and, modeling is the dance step that characterizes the process. Modeling ideas and concepts is indeed one of the most demanding challenges that a teacher faces. The challenge is most obvious with beginning students and young leamers since they have insufficient latent “traces” of the target language to call on. “Traces” are marks left by carlier exposure to language that have undeveloped connections with both the conceptual associations, and language form or manner of production. Using elicitation to develop a corpus of language and ideas is common with teachers and classes above the beginning level — i. asking the class, “Name some ‘foods you eat at the beach?” The fact that this will actually work, and produce answers, is proof enough that the “races” are there. This leads to the mistaken idea among some teachers, that it’s only necessary to ask the right question. The logic, however, is preity obvious, if the students can say it, they must already have leamed it. Put another way, models and modeling is the process by which we get students to predict meaning that they will refine as they use and experiment with language in real life situations. 32Controlled Practice Warmers | Context | Core Gontrolled | Vocabulary | Communicative Getting To begin | Materials | Practice | Expansion Practice students focusing | Acore of | Oppertynities | Additional | ‘This means comfortable, | on material — | touse'the, — | vocabulary | using the interacting | predictable | dialogue, |latgel = | added by —_| language to ‘do” and used to | concepts | reading, | fanguage | the teacher | something ~ basic and Tistening | with lets el | or the play a game, routines | language. | orother | suppoflive | students to _| find out to build} cues from the | build on and | something, or on teacher, | expand the | solve a problem: oud, _ |core ‘The message is pictures. ete, | material. | the focus rather a than the language at this [lesson stage. Controlled practice is student-to-student speaking opportunities with strong supporting cues — blackboard, pictures, charades or other. It is important in controlled practice that the students have the chance to say/listen to the same thing with few vocabulary vatiables, and to speak to different people. Controlled practice follows sufficient modeling for students to understand and develop confidence to speak, but is a fluency exercise where accuracy is not stressed. In this type of activity there will be significant err in the early stages, and often the teacher will have to return to model the target Janguage. As the practice continues, however, there should be a noticeable increase in competence and confidence, Some Controlled Practice Activities Double lines © Count off the students 1-2 and line them up facing each other. © Model the switch — ic. take a student from one line at the end, and move to the other end. All students then move one place and have a new partner Start them talking and back away. This is important to show the students that they should talk, and to ‘get out of the way.” «Signal for a switch when pairs have had sufficient time to finish the conversation, Monitor closely, but do not interfere Coo Ome ete ee eae OO0000O00 2 Daa oat ansow It is important for the teacher to monitor closely, but not interfere. If students are tmable 10 talk at this point, it usually means that there has been insufficient modeling of the core language, and T/S>>S/T>=S/S practice. 33,‘The target language may also be on the board for supporting reference. The teacher may have to move the students to the front of the room, or even into the hallway, but the lines (//'s) can be done standing between the rows in a traditional classroom arrangement. ‘The Horseshoe (Similar to the above) Arrange the student in a large U shape Count off 1-2 Ask the “1's” or “2's” to step forward, and turn around They should now be facing a partner ‘Model the “switch” by moving students clockwise or counterclockwise at a signal. e) @® OO Double circles * This is similar to double lines, but with two circles moving in opposite directions. Finding pairs is not really a problem as students can work out what to do. It works well if the circles can be big with contexts - where people are ‘meeting on the street.'— Hey. Where’re you going? The teacher should monitor closely not participate unless itis a very well focused group. 707On © OC 0 NE po 00 5 ee ae O oe fe) are unequal These are basic choreographies to get students talking to cach other. The activities should stress fluency rather than accuracy. 34In general, the teacher should not intervene since this will usually stop the flow of dialogue between students. There will be some use of 1" language, but if the students have enough modeling and support, they should be able to practice and experiment in these activities. Triple lines ‘© This is the same as the double lines above, but with three lines. This is a nice activity for a ‘confirmation’ exchange. It adds clarifying statements to the practice, and offers one student the listener role. A: Where are you going? I'm going to the market. > What did he say? B: He said he’s going to the market. Pairs > Trios > Quintets © Pair work has been the standard for student practice for years. The instruction, “Look at the dialogue and talk to your partner using the same language,” or some variation thereof, is common 10 many textbooks. Nothing wrong with this activity, except it can be pretty limiting at the beginning levels. A conversation like exchanging greetings can take only a few seconds. Then, the students are left to just repeat the exchange or start fooling around. Trios and Quintets offer some interesting variations and possibilities. In three’s and five’s at least one of the students is offered a silent observer role. This is not only natural, but allows some choice about who is going to speak first. This allows a more cautious student a chance to listen first, and then participate, as they feel ready to do so. More students also means more input as students can share language that they know during practice. Pairs Trios Quintets OO O40 caer O OO O © A variation on the double lines that can be used to simulate a telephone conversation, Sometimes it is easier for students to start talking when they don’t have to face cach other. They can also use written and picture card cues more easily in this choreography. ‘Web sources for Controlled Practice Activities hups/www.teachingenglish.org.uk/think/methodology/mixed_ability.shiml An_ article about controlled practice activities and the web page for British Council and BBC teaching English with lots of interesting links. 35Listening Activities For PELT trainees: please watch DVD #7: Listening Strategies | David Nunan Listening activities are basically re-modeling of the target language and practice in a different medium — ie. sound input. It is important to prepare the students for the listening by sctting the context, introducing vocabulary and ideas and helping the learners predict what they will hear in the listening. The role of prediction in understanding cannot be overemphasized. Most communication situations are highly predictable — ie. the ‘gist’ of what is going to be said is usually understood to some degree. The expression “non-sequitor” refers to exactly that situation where something is said that does not follow what has been previously said, or is, in other words. unpredicted, The point in listening activities is 1o make the listening as predictable as possible before playing the listening tape. Yes, give the students the answers. Tell them what they are going to hear, before they hear it. This means using pictures, elicitation, input and examples to help prepare them for the conversation, or narrative that they will listen to. ‘The focused listening process is as follows. 1. Picture preview — use a picture to show > tell > elicit concepts and words 2. Listening Procedure ‘Ask Pre Question and put on the board (BB) Play tape ‘Ask Pre Question and tell Ss to discuss in pairs Re-cuc tape ‘Ask Pre Question again eliciting a response to the BB Ask next Pre Question. Play the tape at least 3-5 times with a separate focusing Pre-Q Point to pictures, charts or BB to clarify answers 5. Use the listening for a post-listening task such as: Practicing the dialogue in pairs Pairs role play in front of class Writing and practicing personalized dialogues Conducting a survey using similar language ‘Making tapes for practice listening or presentation to class, Aw mepooe spose Remember. The first problem in listening is building leamer confidence. You want the students to get it right, so give them cues for the language before you play the tape. Encourage students to take notes during listening, even at a beginning level. The teacher writes notes on the BB to model and help students get the notes down in English, An alternative is for beginning students to draw pictures to represent what they hear. 36See Interchange I, Unit 8. p 46 for a text book example here. ‘The steps are: 1. Elicit and input “places” in the NEIGHBORHOOD from a picture or map. 2. Model and practice A: What's a supermarket? B: A supermarket is a place where you can buy lots of things. * The underlined portions of the dialogue are the substitute vocabulary appropriate to the student’s NEIGHBORHOOD. 3. Elicit and inputs from a picture ~ Who? What ... wearing? What hairstyle? 4, Focused listening process as above with Pre Qs — Who? What? Where? What else? What ... she say? 5, Pair of trio dialogue practice for short-term memorization 6. Students write their own dialogues, or moving on to other activities in the unit Web sources for listening huip:/vww.mgu.ac.jp/~ic/helgesen/marc.article2.htm Some Marc Helgesen insights for listening. hup://www.teachingenglish.org.uk/think/listen.shtml British Council/BBC links for articles on listening activities. hiip:/ivww.cltforum.com/lib_list html Great resource from Person’ s/Longman’s with bibliography and links on listening from the best. 37Group Listening Worksheets Below is a worksheet template that can be used in any communicative lesson context. ‘The key elements in setting up the worksheets are: Make the blanks for “names” and other expanded vocabulary Do not just randomly make blanks The number of “roles” in the dialogue should equal the number of students in each group © This type of listening is featured in the “Extended Lesson Model” The procedure is: Break the class in to groups of 4-5 Give each group one copy of the handout Play the tape, teacher checks groups and assists, then replay tape (4-6 times) Elicit to the board the correct answers What's Most Important To You? : WHAT'S MOST IMPORTANT TO YOU ‘ WELL, ______7S. : WHY’S THAT? : BECAUSE. HOW ABOUT YOU____? eE b> IS MOST IMPORTANT TO ME. }: WHYS THAT? : BECAUSE. HOW ABOUT YOU. ry area ____IS MOST IMPORTANT TO ME. ': WHY’S THAT? ): BECAUSE. WHAT ABOUT YOU. 2 pay IS MOST IMPORTANT TO ME. : WHY’S THAT? : BECAUSE. WHAT ABOUT YOU. ? Poh A;______IS MOST IMPORTANT TO ME. E: WHY'S THAT? A: BECAUSE, 38More Listening Procedures Listening-based lessons are becoming more common. Shortcuts (McGraw-Hill) by James Mentel, and the English Firsthand (Longman’s) series by Marc Helgesen are two examples. As opposed to the ‘dialogue’ driven lessons of other texts, these books base their lessons on listening activities. Notice in the following examples, there is little or no "prep" because the listening is so strongly supported by pictures and words that it is “comprehensible input." This is listening as language modeling. TASK © Look at the listening activities below, and make a tape script. LISTEN: Choose the correct answer. WHAT DID YOU DO LAST WEEKEND? Iplayed... a) basketball b) volleyball c) tennis Trode my... a) motorcycle b) jetski ©) bicycle I washed my... @) car b) motorcycle ©) dog I went... a) swimming b) snorkeling ©) scuba diving 3940 LISTEN: Who (went fishing) last weekend? MARIO {Mfario} (went fishing) last weekend PLAY. CO T TK coLF BOWLING EXERCISED SNOOKER FISHING eS ee FOOTBALL BASKETBALL WATCHEDA MOVIE ATE PIZZA SWIMMING BADMINTON CLEANED THE HOUSE TENNIS WATCHED A MOVIE RUNNING GROUPS: Practice using PLAVIGO or X22 in the past Al What id you do for fun last weekend? ByJ________. Howabout you? What aid you do? aL LREAD & WRITE what Marcia's friond did under the picture Hi Marcia. What did you fo last weekend? | had a great time, Saturday, [went to the movies with friends, and thén we went to eat pizza. On Sunday, 1 stayed home and cleaned the house. | washed the dishes, washed all the clothes, and even washed the dog. Wow! What a lot of work. So what did you do? Cheers. Jan. is went to the movies 4 WRITE: An Enail to a friend. Use language from the lesson. A . Happy you had @ good time on the weekend. On Saturday t Then! went (On Sunday, I had to and, e Write me again soon. aReading For PELT trainees: please watch DVD #8: Reading To Writing Dave Hopkins Reading is also a type of controlled practice activity. The focused approach to reading is very much like the focused listening approach described above. Tt emphasizes pre- reading activity, task-based reading, and post reading projects rather than comprehension questions. Look at the process below and the steps involved. 1. Look at the pictures and discuss in pairs/groups. Make a word/idea map around each one. * Discuss the following questions and make notes. Whar can you do? Why is it difficult? RECYCLING AUTO POLLUTION 42© Survey four of your classmates. Assign topic —e.g. "Recycling" or "Auto Pollution" NAME, ‘What can you do? Why is it hard? 4, Groups: List solutions and problems. Report to the class 6. Reading: Pre-Questions to be discussed in pairs or groups © What are the two biggest issues in saving our environment? © What can we do to recycle? © Why isn't it easy 10 recycle © What can we do to reduce air pollution? ‘© Why isn'tit easy to stop using cars and busses? Sample Reading Recycling and auto pollution are two of the biggest issues (problems) in saving our environment. We need to recycle glass, paper, plastic, aluminum and other non- biodegradable things, (things that won't disappear). Auto pollution is one of the most obvious and serious threats to the air we breathe. We can all do something about these critical issues, but it isn't easy. Collecting bottles, cans, and plastic is something that everyone can do, but getting them recycled isn't always that easy. First, all the items must be separated carefully and sometimes even cleaned before a recycling center will accept them. Next just getting them to a recycling center may be a problem. And finally, there just isn't much reward or incentive to go to all this work. The fact is, it just doesn't pay. Auto pollution is easy 10 reduce. Just don't drive or ride in gas-driven vehicles. Of course, this isn’t really possible since everyone has to take cars, buses or taxis some of the time, but even cutting down can be hard. How can a student who takes a bus to school "cut down?" (Stop using the bus.) Can the businessman give up the flexibility and independence of using a car? Unfortunately, auto pollution requires large and expensive solutions such as mass transport systems and city trafjic regulations. Recycling and auto pollution are two of the biggest challenges we face if we want to save our environment, but the answers are not easy. We will have to sacrifice time, work and some convenience if we want to save our world. It has never been easy for people to work together and give up immediate gains and comfort for future benefits, but we must, What clioice do we have? 437. Post Reading Task. Choose one of the two topics below. Work in groups to develop solutions to the problems. Write a report and present to the class. © How to make recycling easier’? * How to encourage people to use public transportation Here is another example applied to New Interchange I, Unit 6 p. 39. CRESS TEACHING TECHNIQUES: READING IE EEE 1. READING ACTIVITY — “Smart Moves" (few Interchange 1, p. $8) 41. Ask students, ‘What do you do for exercise?” Write on board. 2. Ask students, “Which ones are aerabic™ 2. Ask students, “What is aerobic exercise? How long and how oflen do you have to exercise for it to be aerobic’ 4, Have students discuss this in pais. * 5. Divide students into team’, Each team needs4o-pick a runner, When the teacher says “Go", each runner must fin¢ hisfher team’s paper on the wall snd thén find the answer to the following question: Ho¥! long and how offen do you have to walk? (Single focus question) 6. Students take a piece of paper and number 1-8 for a trueffatse quiz about exercise. Teacher reads statements (Irom book). 7. Relay teams find out which answers are true (false answers not in reading) -Team members take tums. -Find ONE answer in reading, -Undertine it Write number next to it -When all-answers have been found, fast team member should take paper from wall-and bring to desk 8. Go over questions with wholo class. Verity where in text they are. 8. Tum paper over. As a team, write a paragraph on the topic: Which benefits of exercise ‘are most important? ‘The paragraph wil be judged on number of words as well 25 content. Sentences must be correct. A short time limit should be set. 10, When time's up, students count the number of words and this umber is written on the board, 11. Teams then read their paragraphs and are given a score of 1-100 (optional) 12. The number of words plus the score are added for a final score. 44[Bi READING [ ' | psec | Rist serotie wxerise does more than aise | the heart rate: It its the spirit and builds | confidence. But many brain researchers | Tpelieve that something else happens, too | ust as exercise makes the bones, muscles, | heart, and lungs stronger, researchers think that ib also strengthens important | pacts of the brain, Research suggests that acrobic exorcise | eps you loam new things and zemember old information better. Aerobic exercise | sends more bleod to the brain and it also | feeds the brain with substances that | develop new nerve connections. If the exercise has complicated movements like | dance stops or basketball moves, the brain | produces even more nerve connections ~ the maze connections, the better the brain can process all kinds of infor A Pair work sox How often do you exercise? Scientists still don’t fully understand the relationship between exercise and brain power, For the moment, people just have to trust that exercise is helping them to learn or remember. Scientific research clearly shows, however, that three or more workouts a week are good for you. A study in the Journal of the American Mediea! Assoriation, for example, show ‘that walling four to five miles (6.5 to 8 km) ‘an hour for 45 minutes five times a wack hhalps you live Tonger. So don't be a couch potato, Gat out there and do something! sding to the artielo, whieh of these statoments are probably true? Chock (V) the statements. What information helped you determine this? ‘Underline the information in the article. Exercise 1, makes you feel happier. 2, makes vou feel more self-confident. 3, strengthens the body. 4. can inereage your height 5 7 £8. helps you live longer. can help you learn things better 6. helps you remember things better, O fives you bettor eyesight B Pair work Talk abost theve questions. Explain your answers 1. Do you think that exercise helps people to learn and remember better? 2. Gan you think of other benefite from exercise? 3. What henefita are most important to you? 45Extensive Reading ‘This is reading for the sake of reading with little intervention on the part of the teacher. ‘This is contrasted with “intensive reading” where short readings are analyzed: for meaning and form, This activity is designed to get students to read for fun, The basic rules for students are: © Read, Read, Read * Read What You Want to Read © Read at Your Own Level - things that you can complete in 1-2 class periods * Read for the Sake of Reading © Share Your Reading with Others * No Dictionaries Let's take the rules one at a time. Read, Read, Read © The idea is for the students to read as much as they can during the 12-13 class periods devoted to this component. Not only does this “extensive” reading help to develop better reading skills, it also develops better listening, speaking and writing skills. The more the better, as long as the student is focused. Read What You Want to Read * There will be a selection of graded and un-graded reading materials — books and other — available. Students should be allowed to choose what they wish 10 read. They may start and stop reading several times before they find something they like: This is OK as long as they are reading. Read at Your Own Level © There are graded readers available at a range of levels. The rule of thumb is that a student should not choose anything they can’t finish in 1 or 2 class periods The teacher should keep track of how many books cach student reads, but there is no requirement except to keep reading. Read for the Sake of Reading * No quizzes or teacher assignments are made other than the student sharing through student-student reviews, and the “literary reviews.” Share Your Reading Students can be asked to share reading in a number of fashions. (Includes various ideas suggested by Mare Helgesen) Informal Discussions Since there are multiple copies of reading available, it is encouraged that student read from the same books and share their ideas and understanding through discussions and pictures. 46Instant Book Report Walk into class and write the following on the board - [read a book called -It'sa (mystery, science fiction, love story, police story) - It’s about - In the story, there was a problem. ~ The main characters are - Iliked/didn't like it because students work in pairs. They simply talk about what they are reading. The sentences on the board give them enough support to be able to talk about a book. You may want to require partners to ask two or three follow-up questions (c.g. Why did she go there? When did that happen?) to encourage interaction and to make sure the partner is really paying attention. Although no preparation time is required, it can be useful to give the students one or two minutes to mentally prepare. One way to do this is to have them close their eyes and, in a gentle, relaxed voice, ask questions and give the sentence forms (¢.g., You're going to talk about a book. What's the title of the book? "Tread a book called (blank).” What kind of story was it? A mystery? Science fiction? ctc.). This preparation time lets them think about what they want to say and how they will say it. Ttcan make their instant book reports go more smoothly. Draw a Picture Many students are very good at drawing. Communication about books can be as simple as asking the students to draw a picture. They think of any book they've read. Give them five minutes to draw a picture of a scene from the story. Then, in pairs or small groups they show the picture and explain it. It's interesting to notice that pictures often get students to go beyond the level of literal comprehension to make responses at higher emotional and affective levels. Hint: If your students are good at drawing, they may take too long to draw. This is English class, not art class. Forbid erasers. Once they draw a line, it is there to stay. This forces the artists to work faster. They don't have the option of redoing a line until its perfect. How Many Questions? How Many Questions? is another art related activity, but one based on the illustrations in the books the students have been reading. Students bring to class a book they have read. They each select one picture from their book. Learners work in groups of three. One person shows the chosen picture and explains it. Partners listen and ask as many questions, as possible (What's this person's name? Where is she? Why did she go there? etc.). The goal is to ask as many questions as possible in a given period of time (usually about three minutes per book). To do this as a game or to introduce competition to encourage reluctant speakers, students get one point for each question they ask. 47Story Telling Sticks Story Telling Sticks is an unusual but very effective follow-up activity. Teachers familiar with the Silent Way, Islamabad, and other Cuisenaire rod (Algebricks) techniques will recognize the idea behind it: If you have something to manipulate as you tell a story, your listeners have something 10 look at. They aren't looking at you so you don't get nervous. Also, the rods serve as manipulables, which make the story more concrete. "Story telling sticks" could be done with rods, but in large classes having to buy several sets of Cuisenaire rods is expensive, Instead, use toothpicks. Begin by telling the student that, although these look like toothpicks, they are actually storytelling sticks, The sticks will help them retell any story they have read. To help the students understand what to do, slart with an OHP and a few toothpicks (actually, for the OHP, you might want to use picces of disposable chopsticks as they're more visible). Create a ikind of shadow play using the OHP light to tell a story, using the sticks to represent the people, places, etc. Short sticks are for children and small animals, longer sticks for adults, Sticks can also represent anything from houses to mountains. The key is that they are watching the sticks (symbols) rather than the storyteller. If you (or some of the students) are shy, this is a refreshing change of pace for a speaking activity. After you've told your story, divide the class into groups of two or three. Give each group About 10 toothpicks. Learners tell the story from a book they recently read, A useful follow-up is to have the listeners see how much they can remember about each stick, Literary Review Students work individually or in groups to produce the literary review, which they will take away with them at the cnd of the course. It is a collection of reviews written by students, for students. The students should take a part of a class to decide: Format of the review — Qs from above or other © Submissions — when and how © Production — getting it no the computer and printed. No Dictionaries ‘The teacher will control dictionaries and not hand them out for individual use. The teacher should be ready to coach and consult at all times. Other Resources © Story Cards - Nazradin Hodja ot other story cards (see ‘www proliguaassociates.com) which might be used as a warmer. Students read their cards and then tell the stories to another student and switch cards. Trios might be good here. * Readings on tape — as available. Students listen as they read, or, listen then read. Focus task can T/F questions before reading, main idea questions, detail questions, or, writing questions. * Reading on the web: (Sources) ~hitp://www.bbe.co.uk/ worldservice/learningengli shy ~ hup://vww.bangkokpostneV/education! - hupy//www.extensivereading.net - http://www, literacynet org/ennst/ - hitp://Avww Kyoto-su.ac.jp/information/tesl-ci/e{13/int html 48© Guidelines for web readers: = 2 students per class (or discussion trios*) - Students use only the websites listed - Users complete a “source reports for web readers” + Source Reports for Web Readers ~ Website address - Name of reviewer - Length of reading time ~ Why I would/would not recommend this site to others: “©’Discussions trios” means that 3 students agree to use the computer together, and complete the “Sources” reviews. Web sourees for Extensive Reading hitp:/Mangue.hyper.chubu.ac.jp/jalvpub/tlv97/may/one.htm! Extensive reading Marc's program description htip:/langue.hyper.chubu.ac jp/jal/pub/tl/97/may/shr_helgesen. html Tasks for extensive reading http://extensivereading.net/ The Extensive reading pages http://www.extensivereading.never/whatis?,himl Links to articles about extensive reading Writing An important insight to writing comes from the title to Mary Lawrence's book, Writing as a Thinking Process. Thinking is definitely required before writing can happen, and may in fact be the most difficult part of the task. Process is also a key word in that writing is mostly about the “process” of doing it, and in one sense, iL is not a task that is ever complete. The importance of treating writing as a process, rather than a product, can’t be overemphasized. The process of thinking, writing, rethinking and rewriting is really a dialogue between the individual and himself. Thinking, thinking about thoughts, and recording them, is the process of writing, and as such, is one of the most distinctly human attributes. What does this mean at the practical classroom level? Once again we come back to context. Basic precepts for a writing activity are: © Establish and develop the context © Personally involve the learner © Generate and share ideas and vocabulary © Get the student writing in class © Include opportunities for collaboration and sharing writing products Process the writing products 49Look at the following writing activity Writing Activity (False Beginner level) Pairs ~ talk about, ~ Do you like dogs? - What kind of dogs? List “good” things and “bad” things about having a dog. Come to a conclusion in agreement with your partner. (WRITE) © Make a 1-2 minute presentation to the class. Reading (Low-Intermediate Level) What do you think about dogs in Thailand? People have written that Thailand is a “dog challenged” society. Stray dogs and even dog packs litter the streets of Bangkok by day, and roam unhindered at night. It is hard to walk down any street without stepping gingerly around sleeping dogs, or the refuse they leave behind. Tourists from Koh Samui to Chiang Mai complain about the ever-present mangy dogs with running sores that beg balefully around outdoor restaurants and beaches. Combined with the threat to the economic well-being of the country, the health risks are appalling. Since rabies inoculation is impossible with the large numbers of strays, the threat from this incurable disease is daunting. As well, there are innumerable other diseases that are spread by dogs, or their parasites, from worms to flea and tick-transmitted viruses. In sum, something must be done. Despite Thailand's Buddhist traditions, a solution is needed for both the economic and social welfare of Thailand. Writing Task (Groups) * Discuss the above reading. ‘= Define the problem * Develop three alternative solutions. © Choose one and write how it would improve the situation. Remember that you must consider the values of the culture. ‘* Present your solution 50Writing as a Thinking Process Think about how the “precepts” are applied in the activity above. Establish the context This can be done through pictures, discussion, reading, drawing, video, charades, sound sequences and most effectively by a combination of these. The topic should be of interest to the students on an emotional level — ie. something they have an opinion about. The importance of choosing the right topic can’t be averemphasized, and getting the student involved in choosing topics through group brainstorming can be very helpful in this regard. Take time here and don’t rush this step. When available, one or more class periods can be spent on this stage. A possible sequence might be: ‘Students look at pictures in groups and brainstorm ideas and words onto poster paper. * Each group then acts out a role play or presentation based on the picture and their own posters ‘© Teacher introduces a reading with appropriate content and level ‘© Groups generate a list of questions based upon the reading and topic + Students begin writing ‘The important thing is to get each person involved through engaging his or her likes and dislikes, or, agreement or disagreement with the topic. The leamer-writer has to care about the topic and expressing his/her opinion, Nothing fails so dismally as asking students to write about flowers, if they really don’t care about flowers, no matter how much the teacher thinks they should! Then the teacher's task becomes getting the students to care! Generate and share ideas and vocabulary ‘The important thing is that the ideas and vocabulary brainstormed must be recorded somehow and accessible to the individual students for writing. Poster paper is one medium, but individual notes, or notes to the blackboard are other possibilities. Collaborative activity in pairs, trios or groups is important here. At lower levels, collaborative writing is a good option — i.e. a group works together to produce the writing task, A number of devices can be employed here including: © Poster displays and walk around viewing © Presentations to the class * Fishbowl discussions — putting a small group in the middle to discuss a topic while others watch and listen. The outer circle may question or comment after the inner group has finished. * Role plays and skits * Debates — either formal or informal * Collage-building — combination of pictures and words © Idea maps — similar to the above but including arrows to indicate the “flow” of ideas 5tGet the students writing in class Students can get Staried while the teacher is there to coach and advise. One way (0 facilitate this is for the teacher to sit at a table off to the side where students can come for advice on their writing. Its critical for the teacher to be encouraging and helpful so that the students will voluntarily come up looking for help and advice. An important veideration here from a colleague, Mark Rodell, is being careful that you don’t “colonize” your writing students. In other words, don’t tell them what to write, wale for thom, or tell them what you think they are trying to say on paper. Writing is one of the most intimate person forms of expression and it is essential that students feel that the writing is their own, and what they want to say. Indicating the need for rethinking and correction with a simple marking system works quite well. ‘An underline indicates something that needs revision. ” “Arrows can show where words are missing, = Circling words or phrases to suggesting rethinking or different forms. ‘These may be enough to get students to rethink and rewrite what they are doing However try not to interrupt the “flow” of the writer's ideas. Ifthe student is ‘on a roll and developing ideas, it may be better to hang back and Tet revisions wait until later This has to be a teacher “call” but itis an important decision. Having the students come up for coaching when they ate ready may take care of some of this. Do make sure to be there to assist; don’t intervene unnecessarily. Include opportunities for collaboration ‘This means having student share and compare while their writing is in progress. Most “qtiters like to show off what they are doing, and they should be encouraged to do so before they have produced a final edition of the paper. This will help them to: Rethink their ideas Autocorrect as they write Add ideas that others may suggest * Develop coherence and cohesion © Refine the flow of the writing Ways to do this might include: © Pairs/trios/groups reading papers aloud to cach other © Pairvttios telling cach other what they are writing while the other read their paper © Reading the paper in progress onto a tape and listening — this can be very effective for auto correction + Tumail exchanges with peers, although there should be a “process” defined for doing this ~ e.g. getting the respondent to retell the paper in his/her own words to assess clarity, of, having the respondent ask a series of questions that might clarify ideas in the writing. 52Process the writing This often means “writing for a reason.” Writing is usually not an end in itself, but a means to something clse — reporting or communicating ideas for pleasure or information. Producing writing for inclusion in a literary review or poster board is a possibility here. Reading stories aloud to the class is another, or just exchanging stories for fun, Teacher correction is the traditional “processing” step, but further thinking might be: * A student literary website with writing reviews + Letters to the editor, or an “opinion board” * May be less than satisfying from the students’ point of view. Some ideas to catalyze International email exchanges with a class in another country © Posting papers to a “Writing Board” ‘© Publishing a newspaper or magazine © Writing children’s stories or comic books All of the above are larger projects, which would involve many intermediary steps from brainstorming the initial ideas in groups to, production of final projects. Getting students inyoived in different phases of the project is an interesting option here. Not everyone has to be a copywriter. There can be editors, proof readers, data entry, layout, illustration and other roles depending upon the project. Roles can be rotated so that everyone gets a chance to write, but keep in mind that other roles may contribute significantly to the development of writing skills. Writing Mechanics Capitalization, spelling, punctuation, notation and other writing conventions are an essential part of learning to write. They should be covered through focused models and examples as students write, but as a separate step after they have focused on communicating meaning. The mechanies are part of communicating meaning, and students should leatn their role in developing meaning in written language. Many English for ‘Academic Purposes texts like Interactions, Mosaic and Quest do this by inserting mechanics’ suggestions, examples and activities throughout the text as part of the development of writing skills. Writers teaching writing To be a good writing teacher, the teacher needs to write, The teacher does not need to be a brilliant writer, but a competent one. Most important, the teacher needs to be involved in the same process of thinking and writing that is being asked of the students. Often a teacher can model writing on the board as students are writing in class. Having the teacher's example to compare with in the discussion of writing papers is an obvious plus.Vocabulary Expansion For PELT trainees: please watch DVD #10: Vocabulary Expansion Dave Hopkins | Warmers | Context Getting To begin students | focusing comfortable, | on interacting | predictable and used to | concepts basic and routines language. Core Materials ‘A core of ‘material — dialogue, reading, listening or other to build on Control Practice Opportunities to use the target Tanguage with lots of supportive cues from the teacher, board, pictures, etc. Pra This means using the language to “do” something — .e. play a game, find out something, or solve a_ problem. The message is the ] focus rather than the language at this lesson stage. Vocabulary Expansion Cards and Handoff (HO) Make nine picture cards to model vocabulary expansion items that fit into the core dialogue structures that you have presented. Look at the example below for the underlined expansion slots. : Where’re you going? I'm going to the market. : I’m going to get a motorcycle. A: B: A: How’re you going to get there? B: A: What're you going to do? B: I'm going to get some fruit. ‘The substitution slots should be nouns or phrases, which answer the questions in the core dialogue. For most classes the cards should be A¢ size, and nine is just about the right number of variables to add in beginning classes. As the level goes up more variables are possible, but rather than add teacher cards, we can get students to develop their own alternatives (more on this in a bit). (Front of Picture) (Back of Picture) || Bangkok Go Shopping 54sing the above dialogue Hand off dance steps. 1. Blank the spaces on the core dialogue on the board where the vocab items will Hi Model TT '§ asks teacher the Q, and T answers (S/T) Teacher asks student (T/S) ‘Teacher directs student to ask another students and handoff the card, SIT>>T/S>>HO 7. Teacher continues to handoff cards as students practice and handott. 8. Once all the cards are out teacher monitors and coaches 9, Teacher r¢-collects the cards T/S Where are you going? Cards can be produced using clip art as above, hand drawings or magazine cut outs. It takes only scrap paper with one good side, and a transparent sleeve folder to make them durable handout cards. Alternatives would be: Students make their own picture cards to represent alternative vocabulary © Posters, although posters are best used with groups with students sitting around the poster using it as a cue for questions and answers. : lO © More advanced students can generally brainstorm vocabulary expansion in groups as long as there are some models available from the teacher. This will be covered in more detail in the “Expanded model" in the next section. The teacher coaches the students group by group, helping them to express what they want to say in English through translation, pictures, mime or usually a combination of shared modeling. Blank Cards The hand off activity above can be supplemented by using one or more blank cards to get students to input their own ideas. Using the abbreviations we have started above, the dance steps would be T/T to model the input of different ideas, followed by T/S>>S/T>>S/S activity around the classroom. This activity can be used together with the picture card handoff, or following the handoff. 55Posters Wrapping paper and marker pens axe used 10 ereate Tange-seale visuals. These can be prepared in advance by the teacher, of, done a8 @ Broup brainstorming activity by Prudents, The format can be a free collage of words and images. Yes, D like sesimminy <4 ‘The teacher may also set the format in part, as in the above. Students and teacher add words. Clip art offers lots of possibilities. runing SE Word Families ‘Add words or pictures associated with the word/symbol 56Students add words that fit the categories. ae i she towels ee At the Beach coke Pictures Students look at pictures [A] and [B] and write down any words or ideas that occur to them. Encourage them to think of sounds, smells, temperature, light and even tastes as well as things you can see, What about emotions? A) © Discussions, communicative activities and role plays using the words Using the vocabulary in written tasks * Matching pictures and words © Classifying items into lists © Mnemonic exercises - rhyming, contrasting, or any other memory aid device © Filling in crosswords or grids ‘© Instant board scrabble — write a word on the board and students have to write as many ‘cross’ words as possible in 3 minutes 57More Elaborate Ideas © Back to the Board - One student is seated back to the board. Teacher writes a word on the board while others mime or say related words. Team game when points are awarded for guessing the word within a time limit. © Category List - Teacher gives a list and students have to give a title, or visa versa. «Stealing words - Teacher reads a passage and gives a category for student to listen for. Students “steal” the words by writing down the words in the category - e.g, cars, food, past time, etc. © Word cues - Teacher gives students a list of “cue” words - boy, marmalade, spoon, afternoon, cupboard, table, spilled, mother, shirt, angry - from which they must construct a story. They must use the form of the word given ~ i.e. spilled. ‘© Pictionary — A student draws something on the board or paper that will help another student guess the word. © Filling in gaps in sentences Communicative Activities For PELT trainees: please watch DVD #12: Communicative Activities Dave Hopkins _| Warmers | Context | Core Controlled | Vocabulary Getting Tobegin | Materials | Practice Expansion students | focusing | A core of | Opportunities | Additional comfortable, | on material — | tousethe | vocabulary interacting | predictable | dialogue, | target added by andusedto | concepts | reading, | language the teacher basic and Tistening | with lots of | or the routines | Janguage. | orother | supportive _| students to to build | cues from the | build on and | on teacher, expand the board, core pictures, etc. | material Exchange previously unknown information, or at least, variables of real interest Involve at least two people with both parties initiating - dialogue Usually involve personal information or ideas Be engaging — i.e. of real interest to the learner Focus on “fluency” Have a context 58Walkabouts This is activity that allows the students to mix more freely and talk with whom they choose. Usually the activity is structured along the lines of one of the formats below I can be either a “controlled practice” or a more “communicative practice” depending upon how much supporting language cues are provided 10 the students — e.g. the dialogue is written on the board, on a piece of paper, or in a book. The nice thing about the activity is that it offers some choice both about whom the student chooses to talk Jo, and often the responses can be more varied. The variations below will be provided again under “communicative activities,” but here it is assumed that the question and answers have becn thoroughly modeled, and supporting language cues are readily available. 3 slips of paper Students write down the answers to a question supplied by the teacher on small slips of paper. The papers slips are then crumpled up and put in a bag. Bach student takes three Of the crumpled slips. If @ student gets their own, it is returned to the bag in exchange for another, Students then walkabout asking other students if they are the student that wrote the information on the slip. For example at a very beginning level, A: Is your brothers name Paul? B: Yes, Itis or No. It isn’t. My brother’s name is Paul. ‘The students walk around asking the questions generated by the statements on the slips of paper until they find the right person. They then write the name of the person on the slip, and go on to look for who wrote the other slips they have. At the end, each person tells the class what they found out about others in the class. Surveys Involve going around the class to get information. This is a “Find someone who...” type activity with students going around the class asking questions modeled during core lesson stage and clearly supported with Q & A cnes on the board, in the book or on handouts. Look as samples below, Find someone who... © Gets up at 6:00am © Eats rice for breakfast © Can ride a motorcycle © Hasacat «Etcetera ‘What's your favorite?... (see sample handout forms below) * Food * Drink * Movie © Music © Etcetera 59What do you do that’s “Green/Un-green” (Environment friendly)? ai What's your favorite. TFAVORITE (Name #1) (Name) (Name #3) Tf (Name #4) Music Movie Food Dream L Situational Role Plays Siudents get a card showing a situation, and they have to write out a dialogue and then sit out This can also be fum as a pyramid activity ~ i.e. each group develops and practices its role play, and then joins another group to present skits, Then, these two groups join two other groups until the whole class is involved. The advantage of pyramiding” is that the role plays are done more than once to increasingly larger audiences. Buying something at a market Ordering food at a restaurant Getting a bus ticket Sending an email ‘© Preparing your favorite dish © Exchanging weekend plans © Discussing movies + Planning a vacation © Getting travel advice © Winning the lottery 60Information Gaps (What's the cost of .... in...) One Student looks at the information on the “Student A” chart, while the other looks at the info on the “Student B” chart. Their conversation involves a staged “information gap’ since student A does not know what is on the Student B chart, and visa-versa These info gap activities are often found in textbooks and formatted by having the Student A and B info on different pages. While it is a bit “staged” and assumes that Students A and B actually care what the information is, it does meet the basis criteria for communication — exchanging previously unknown information. Student A i TE New York Tokyo i ‘Bangkok Coffee, $2.25 Bus $0.08 Hotel $250 $350 Student B New Yor Tokyo WT Bangkok Coffee $8.00 $.27 Bus $1.00 $1.50 Hotel $27 Tic-Tac-Toe Students on each team ask and answer the question. Correct answers get an X or O. You choreograph this activity as follows. © Split class into two teams ~ X and O ‘© Teacher clicits the answers to the grid — What did you do last weekend? © Decide which team goes first — flip coin or rock, paper, scissors «Two student from same team ask and answer question «If they get the Q & A correct in a timely fashion, they get the box for X or O. A: What did you do last weekend? B: I played football. WASHED DISHES WENT FISHING USED A COMPUTER EXERCISED PLAYED FOOTBALL WASHED CLOTHES CLEANED THE HOUSE ATE PIZZA RODE A BICYCLE 61Index Card Games ‘There is a great variety of index card games. Most involve using the card as a cue to exchange information in some context — for example personal information, famous people, country siatistics, etc. This is usually done as a random walkabout with students talking with others students at will. Cards can be exchanged, and a variation involves gathering information from each of the people the student talks to. Reading cards as published by Prolingua Associates is another interesting activity where students retell stoires on their cards and exchange with other students. For further information, see www. proliguaassociates.com Comparing Pictures “Two students ot two teams each get a similar picture with “difference” to be compared. Students must sit so that they cannot see the other picture and ask questions like, A: Is there a TV on the desk in your picture? B: No, There is a computer on the desk in our picture? B> Is the window open in your picture? A: No. The window is closed in our picture. See Learning Teaching, James Scrivener, Heinemann, p. 64 for example. Drama Techniques ‘There a great number of possibilities here from the practice and production of real play sipts, to student produced scripts. There are also many theater technique activities designed to provide communicative practice and the opportunity to act out language roles, See the Theater Techniques section of this book for more examples. In conclusion, the goal of classroom language teaching is to get the leamers using the Ianguage in real communicative situations. Any device, choreography or activity that does this must recreate as much as possible situations where the learner is likely to use the language for some real and personal purpose, other than language practice. While ideal, this objective is not easy to realize, That is not to say the “communicative classroom activities” are useless, or a waste of time - quite the opposite. These are the activities that give teachers and students the best feedback on what is actually being earned. “Imagining” can be a powerful reality, and thus, the role of drama activities should be emphasized here, Content-based learning is another significant step towards moving towards communication of real ideas. Web sources for Content-based learning See the following link to a Marc Helgesen handout for more ideas. hwp://www.mgu.ac.ip/~ichhelgesen/mare.article3.him, 62LESSON FRAMEWORKS and DVD #13 Observed Teaching Dave Hopkins et al. Lesson frameworks are lesson sequences that can be built on and modified as appropriate for different classes. They are a sequence of behaviors and choreographies that work as a stand-alone lesson, although they are not intended as a prescription. They are intended to meet the following criteria: Language presented in contexts meaningful to the students Modeling to controlled practice to more communicative practice activity Variation in the modeling and practice activity Remodeling (T L) in different modes — spoken dialogues, listening, reading = Building on core materials — i.e. minimal vocabulary initially, expanded as the lesson progresses © Maximizing student to student interaction ‘© Modeling language first as audio input and then as reading «Integrated skills development listening, speaking, reading & writing © Grammar in context, focus upon form, or highlighting grammatical features While the Basie Framework does not include a specific step for student input, this is always an option ~ for example, getting students into groups to brainstorm additional vocabulary items (sce Vocabulary Expansion section). Other frameworks specifically include this step. Lesson frameworks are hardly a new idea, and are basically what are found in most Glassroom texts. Textbooks contain a sequence of activities in each unit that the author suggests as a possible way of teaching the lesson. Most authors would agree that the sequence in the text is just one of numerous possible sequences that might be followed in leaching the lesson. Most texts reflect this by varying the sequence of activities from unit to unit. Likewise, the frameworks are a suggestion, but a suggestion inviting modification and adaptation to meet the needs of the teacher, the students and the curriculum in any given situation. To some extent, lesson frameworks plus the lesson contexts found in this book are an alternative to a textbook. It would be possible for the teacher, and possibly the students, to construct their own text choosing the contexts and frameworks that best suited their purposes. This not a novel idea, and might provide a feasible altemative for classes find commercial texts difficult to adapt to their needs. ‘The frameworks are presented as a minimal lesson plan that includes a column for the “target language,” and a column for “process.” 63Language : | Process This column will define the target Process will be a brief sequence of steps language either as written or as a for teaching the target language. These reference to a page in atext. Obviously, | are suggested steps and might be varied the target language is a ‘sample’ to make | or modified according to the teacher's the lesson sequence and process clear. _| and the students’ needs. The teacher must substitute the appropriate language for their own students This is not a complete lesson plan, and would need timing estimates, more detail on student activities, and attention to possible problems, to constitute a final plan. To do this the teacher would have to consider the level of the students, curriculum objectives, and student interests and motivation Basic Level: Teens to Adults at the beginning to intermediate level The first framework contains all the stages of the teaching-learning paradigm in a logically sequenced process. It is not the most elementary, or the easiest. It is simply a 200d starting point to develop classroom behaviors and choreographies. The framework presumes that there is a meaningful lesson context ~ i.e. a personalized and localized communication situation that is engaging for the leamers. It is also specifically aimed at beginning levels and younger, high school age learners. Itis a functional framework for higher-level students and adults, although above the intermediate level, it is more likely that a teacher would choose one of the other frameworks, The framework is laid out below in a chart format. Please note the abbreviations for the teacher and student interactions, or “dance steps” used carlier ~ i.e. teacher to teacher (T/T), teacher to student (T/S), and student to teacher (S/T), student to student S/S), double lines (//'s) ad elicit to the board (BB) Language Process A/T. MY NAME’S DAVE. WHAT'S LL WARMER YOUR NAME? * Communicative practice with, B/MY NAME’S DA..DA..DA.DA known language A/NICE TO MEET YOU. © TSPSTISS PIs B/NICE TO MEET YOU TO. ORDERING IN A RESTAURANT i, CORE DIALOGUE + Set context A/ WHAT WILL YOU HAVE? © Cards or poster B/T’D LIKE THE CHICKEN WITH RICE. show>>tell>>elicit A/ SOMETHING TO DRINK? © T/T model with a picture card B/JUST WATER PLEASE. (sep. 10)3-4 titties A/ ANYTHING ELSE? © T/T 6 lines, then 2 Tines ata B/T'D LIKE A SALAD, PLEASE. ae TS D SIT S/S (5-8 times) Build up 2 +2+2 lines repeating the above * Elicit to BB after cach 2 lines 64IIL ‘VOCABULARY EXPANSION ‘Picture card preview — show > tell > elicit * sT> TS >HO Picture cards for modeling and practice LISTENING ACTIVITY © 2sided tape with blanks for variables © Groups of 3-5 listen and fill in blanks *_ Telicits the answers to the BB GAME «© TIC-TAC-TOE or other game adapted for communicative practice — i.e. game gets SS using the TL Expanded ‘The “expanded” lesson model allows more SS input, and incorporates group work. It works best at post-beginner levels, but can be used at any level with teacher coaching, (The language here is going to be tailored fo the context of the lesson — i.e, something that will get student thinking about the lesson focus, without requiring production ofthe upcoming target language) Language Process A/MY NAME'S DAVE. 1 LIKE L WARMER FOOTBALL. * Communicative practice with B/MY NAME’S: ILIKE FOOD. ‘known language C/MY NAME’S I LIKE MUSIC. © TS PS/TDSSPI's + OR © Students and teacher throwing a ball around a circle. WHAT'S IMPORTANT TO YOU? iit A/ WHAT'S IMPORTANT TO YOU? 3/ WELL. MONEY IS. A/WHY'S THAT? 'E I LIKE TO BUY THINGS. ‘CORE DIALOGUE © Set context * Picture preview show > tell > elicit © T/T model with a picture card (seep. 10) 3-4 times © T/T4 lines, then 2 lines at a time © TS > S/T D SIS (5-8 times ea) * Build up 2+2 lines repeating the above * Elicit to BB after each 2 lines 65MONEY ~ BUY THINGS I. VOCABULARY EXPANSION — FUN - BE HAPPY * Picture preview — show > tell FAMILY - BE TOGETHER > elicit FRIENDS — PLAY TOGETHER « ST STIS SHO SCHOOL - GET A GOOD JOB © Picture cards for modeling and practice (Tape includes language from core dialogue | IV. LISTENING ACTIVITY and vocab expansion. With post beginning © 2-sided tape with blanks for levels, other “known” language might be variables included as long as the teacher can predict © Groups of 3-5 listen and fill in that the language will be understood by blanks some of the students.) Vv. GROUP WORK © T models dialogue with group © Group develops a similar dialogue on poster paper © Group practices * Used Vi ROLE PLAYS/PRESENTATION © Groups present to teacher © Groups read the dialogues aloud © Groups role play their dialogues Text Based There are a number of possible frameworks for text based lessons. The following was adapted from New Interchange Book 1, Unit 3 What Are You Doing? p.28 Language Process (Telephone rings...) 1. WARMER A/ HELLO. * T/T model with picture card B/HELLO + TSPSTDSIS A/ WHAT ARE YOU DOING? © T/T model variable vocab B/I'M SLEEPING/GETTING UP. «© TS>STPSS A/ WHAT TIME IS IT? . is B/IT'S 3:00 AM./6:00 AM. A/OH. I'M SORRY. GOODBYE. B/GOODBYE. (See P. 30, Conversation) A/ WHAT TIME IS IT? B/IT’S 2:00 A.M. A/ WHAT ARE YOU DOING? B/I'M COOKING. A/ WHY? B/I'M REALLY HUNGRY. I BRIDGE DIALOGUE + show picture of Mom and son — show > tell > clicit key words and concepts * T/T model with picture - 2 or more lines at a time depending upon the level of the students © TIS D S/T % SIS practice — usually 2 lines at a time 66© elicit each 2 lines to the BB | after practice © building up dialogue 24+2+2 or 24446 * I's or horseshoe practice when dialogue complete* + *optional Ti, CONVERSATION (LISTENING) «Picture preview of Steve and Mom — show > tell > elicit © Focused listening * Pre-Q @ Play tape © Ask Qagain © Rewind & SS talk © Ask Qagain # Elicit answer to BB © Pair practice © Model UP/DOWN reading from text + ‘T/S model UP/DOWN © Dialogue practice * S/S practice © S/S(©) - pairs in front of class —Aetivity 11, p33, New Interchange TV. READING INTRO © Match pictures and text from cut-out page ¢ T/F questions(6) from the text “spot” questions (6) from the text — run ‘n read is an option here © Activity “A” from the text Activity “B” from the book ‘A/HELLO. WHERE ARE YOU? V. COMMUNICATIVE ACTIVITY B/I'MIN..... ‘A/WHAT TIME IS IT THERE? © P.IC-8 Interchange 5 ~ Time B/IT’S... Zones ‘A/SO, WHAT ARE YOU DOING? © Work in groups B/T'M ... © Use the Time Zone chart Make a cell phone call to your friend using the dialogue shown oppositeTASK * Look at Unit 5 in Interchange, or another textbook, and make a different lesson framework that would suit a class of students you know. Content Based ‘The following is an intermediate level lesson based upon Unit 6, p. 44-45 in the Intermediate MATTERS text by Longmen’s. It is content-based because it uses “authentic” materials — i.e, from real English language sources ~ and is a context relevant to everyday life, the environment ‘A/WHAT’S “BEING GREEN” MEAN TO |1. WARMER you? B/IT MEANS. # Ask students to talk about the question © Elicit to the board, or, have students come and write on the board, * Tell class that they will be talking about “Being Green” meaning environmentally friendly I. GROUP WORK A * Put students into groups of 4-5 * Ask groups to talk about what “being Green”, A/WHAT DO YOU DO THAT'S environmentally means GREEN/UNGREEN? * Write notes and ideas on BIL. poster paper * Tell students to make two lists: Green Things//Ungreen Things that people in the group do Ti. SURVEY * Students interview 4-6 people from other groups and write down ~ Green Things and Ungreen Things # Student display posters to decide which is the most Green or Ungreen group Intermediate MATTERS, p. 44, Are These. |1V. PRE-READING People Criminals? © In groups/pairs, look at the A/ WHAT'S WRONG HERE? pictures and guess, WHAT'S B/... WRONG HERE? A/DO YOU DO THAT? Students ask each other if they do Bho these things. 68Intermediate MATTERS, p. 44, Are These People Criminals? V._ READING * Match the pictures with the paragraph in the reading + Flash reading — 20-30 seconds, close book = for definitions of: Ozone layer Acid rain Battery farms CEC Intermediate MATTERS, Unit 6 p. 43 VI POST READING * Activity 3— What do the words in italics Mean a] By using ir ... (paragraph 1) ] Which helps protect us (paragraph 1) ¢] That eat up the ozone gas (paragraph 1) dj This means that. ..(paragraph 2) ¢} Which are not treated with (paragraph 3) f] This traps the sun’s heat...(paragraph 5) g] To recycle them ...(paragraph 7) h] Many of which are packed ... (paragraph 9) + Activity 4— List the things, which according to the article, are bad for the environment. Vil. PRE-LISTENING ACTIVITY © Groups - Why isn’ tit easy to be green? Look at the things mentioned in the reading and list reasons why being green isn’t easy on poster paper Intermediate MATTERS, Unit 6, p. 43 listening 6.1 Vil. LISTENING Listening focus question — Do you think Mrs. Moore is a Criminal? Why? Detail questions — What are the things she finds difficult? Do you agree with her? Make notes under the headings Shopping, Food, Recycling, Transport 691X. POST LISTENING © Prepare a group report on How Being Green Can Be Easier. Present to class, video or hand in as homework [A content-based lesson at the intermediate level could take many forms. The above framework tries to: wrrocus the reading and listening tasks with group discussion to predict ideas, vocabulary and concepts that will occur in the inputs «Allow for the exchange of personalized information and ideas @ Vary the skill focus from speaking to reading to listening to writing © Utilize the text material without blindly following the book One - to —- One '‘A/ WHAT (KIND OF) FOOD DO YOU 1. WARMER LIKE? © Model the language T/T using Bi LIKE oss eet pictures of appropriate food A/(IS THERE) ANYTHING ELSE YOU items LIKE? * Practice the dialogues T/S and B/WELL. I LIKE - S/T using the pictures as support JIS THERE ANYTHING YOU DON'T © Make a list of the things the LIKE? student “likes” and “dislikes” B/I DON'T LIKE pethaps compared to what the teacher “likes” and “dislikes.” A/WHAT DO YOU LIKE TO DRINK? B/TIIRR oo A/ (IS THERE) ANYTHING YOU DON'T LIKE? B/T DONT LIKE : ATA RESTAURANT WITHA FRIEND (or [1l. CORE DIALOGUE ‘modified appropriately for waiter and © Role play T/T —2 lines ata customer) time © Practice and then role play A/WHAT ARE YOU GOING TO HAVE? with the student B/I'M GOING TO HAVE THE CHICKEN @ Tape the role play and review AND RICE. A/ANYTHING ELSE? B/T'LL HAVE A SALD. ‘A/ WHAT ARE YOU GOING TO HAVE TO DRINK? B/COKE. 70Chicken — rice — Pepsi Fried rice — French fries Fish — tofu soup — water Spaghetti - chicken wings - orange juice ‘Curry soup — fruit salad — lemonade Beef noodles — garlic toast — beer Pizza — vegetables ~ iced tea Steak ~ potatoes — coffee Fish & chips — bread —7-Up Coke eeeee I. VOCABULARY EXPANSION © Student writes their own dialogue plugging in variables © Practice dialogue with teacher using different items - put items on pieces of paper — T and S draw items and practice dialogue ‘Make a menu based on the variables. (This might be done before the other practice activities and used as the supporting material.) ‘A/ MAY I TAKE YOUR ORDER? B/ YES. I'LL HAVE THE [STEAK] A/ ANYTHING ELSE? B/ SOME [FRENCH FRIES) PLEASE. A/AND YOU SIR? C/T'LL HAVE THE [ ERIED RICE]. A/ WITH CHICKEN OR PORK? C/ | CHICKEN] PLEASE. A/AND SOMETHING TO DRINK? C/WE'LL HAVE [COKE]. TV. LISTENING ACTIVITY © Handout sheet with blanks for the underlined words © Play tape, pause, reply as needed © Coach student as needed © Blicit the answers * Practice the dialogue with the student (same language as above) A/ WHAT WOULD YOU LIKE TO EAT? B/T'D LIKE A/ WHAT WOULD YOU LIKE TO DRINK? B/I'D LIKE V. COMMUNICATIVE ACTIVITY ‘© Blicit the foods into the X/O grid + Play T/S and S/T * To make it more difficult add drinks and “anything else” to make the required dialogue Tonger, but DO NOT write in the X/O grid. (Teacher option) Vi. SONG ‘© Play song, students lip-synch © Students whisper choral © AandB groups alternate lines Students sing with music ‘A/ HOW DO YOU MAKE FRIED RICE? B/ FIRST, MAKE SOME RICE. A/OK, MAKE SOME RICE. B/THEN, STIR FRY VEGETABLES. A/OK. THEN, STIR FRY VEGETABLES. B/ NEXT, STIR IN AND FRY MEAT OR EGGS. A/ RIGHT, NEXT STIR IN AND FRY MEAT OR EGGS. B/ FINALLY, ADD THE RICE AND STIR PRY. A/RIGHT. ADD RICE AND STIR FRY. ‘VIL OPERATIONS ACTIVITY Start by drawing pictures and putin order © Add and model language two lines at a time. © Charade the activity as you model ‘© Student charades as you practice Record on audio or video tape nw‘The focused one-to-one (1-2-1) lesson plan is an adaptation of the classroom plan frameworks preceding it. Teaching 1-2-1 is not as different from classroom teaching as is sometimes imagined or practiced. While it could be just a conversation between student and teacher where the objective is just practice of existing skills, if language development is expected the same modeling through communicative practice steps will be needed. Developing 1-2-1 lessons also assumes that the teacher: © Establishes a sympathetic rapport with the learner — i.e. a feeling for the student's life, interests and reasons for leaming English. © Develops and revises a “student profile” including the leamer’s life, perspectives, likes, dislikes, hopes and aspirations so as to utilize contexts meaningful to the leaner. ‘© Emotionally engages the “whole learner” in the language learning process through personalized contexts, and learner-centered activities. * Provides feedback that will allow the learner to measure language competence against expectations and needs 72APPROPRIATE LANGUAGE How much language is enough? Too much is overload; not enough is boring. This is another way of expressing the idea of “appropriate language.” This unit covers what and how much language to give the student in instructions and core target material. Consider the following two different instructions. © 1) Why don't you pick a partner and get into pairs, and talk about what you can buy in a supermarket? (No further instructions given.) © 2) Get into pairs (Teacher indicates pairs by gesture). ~ Look at the picture. (From Shortcuts, James Mentel, McGraw-Hill = T/T models - A: What can you get in a supermarket? B: Youcan get -T/S S/T > S/S model/practice and clicited to the board - Pairs/irios make a list of things by asking the Q&A and using the picture on the following page “The Supermarket”. 73ue On eon tenve with do = cupermasket ov nga vocabulary 16 polite requests Ny “Could you pick wp some excuse me as = 4 apirne | an apology fn the font * McGraw-Hill, Shortcuts, James Mentel TASK * What is the difference between instruction “ © In what class situations can you imagine yourself using each one? 74Look at two dialogues 1 Where are you going? I'm going to the supermarket. How are you going to get there? I’m going to get a taxi? What are you going to do? I'm going to buy some fruit. SS eE ee A: Hey! What do you think about going to the mall to look at clothes? B: Yeah, Sounds good. You looking for anything in particular? ‘A: I don't know. I have been trying to find some decent jeans, but I don't like what I've seen lately. Know any good jeans stores? B: Why don't we try The Gap? They have pretty good stuff, and it's cheaper than brand names. TASK © What's the difference between the dialogues? © What makes the second one more difficult? © Describe the class where you might use each one. Appropriate Language is defined as language that is easy enough for the student to gain meaning and learn from. This may be in the form of instructions, or target language to be learned. The objective is to use language for instructions that is understandable, and, to present new target language that is just a bit beyond the student's current communicative competence. It is a delicate balancing act between giving the student too much, and they shut down in frustration, or, giving them too little and they tune out from boredom. The teacher's ability to predict an “appropriate” level of language input isa significant skill refined through practice. It helps if we look at some of key factors. Refer to the above dialogues to see how they apply. Easy © Short «Repetitive words and structures High frequency words and phrases (see Collins COBUILD) Dictionary) Predictable Q & A pattern — c.g. dialogue #1 © Contextualized «Narrow language focus - ic. minimal divergent content ‘= Lots of supporting models - ic. pictures, sounds and actions Difficult © Longer sentences, more words © Greater diversity of words and phrases + Lower frequency words and phrases © Complex or random Q&A patterns ~ dialogue #2 * Lack of situational context * No supporting models - ie. pictures, actions or sounds to aid understanding ris)TASK Write a 6-line dialogue for a beginning class of high school students. Keep in mind the factors of difficulty mentioned above. Try to keep the language natural Write @ 6-line dialogue using the same lesson context for intermediate adult Teamers. 76CHANTS & SONGS For PELT trainees: please watch DVD #14: Chants and Songs Dave Hopkins Chants ‘A chant is a rhythmic expression of English as it occurs in context, Chants allow the Jeamer to not only learn and practice common English expressions, but also to learn and feel the ehythm, stress and intonation patterns that go with that language. In English, we often stretch, shorten, blend and even drop sounds, Such features can be difficult for the non-native speaker to comprehend. Chants can help illustrate the difference between written and spoken English and help the learner become a better listener and a more natural speaker. When practicing chants, itis very important for the students to clap or snap their fingers to keep the rhythm of the chant. It is even possible for students to “act out” a chant to emphasize the emotion that goes with it and/or to do role-plays in which they can practice the language from the chants, The most famous writer of chants is Carolyn Graham, whose books include Small Talk, Jazz Chants, Grammar Chants, Jazz Chants for Children and Jazz Chant Fairy Tales. A Homegrown Example Where, How, What Where, How, What Where, How, What Where, How, What (2X) (Da Da Da Da Da Da) I'm going to the market T'm going to geta motorcycle What are you going 10 do? I'm going to buy fruit (2X) Procedure Listen and clap Chorals w/T — w/o tape Chorals w/T - w/ reading Group reps — w/ tape & reading © Group reps — w/ tape w/o reading * Alternate group chorals Published chants are available, most notably Carolyn Graham’s books, but any target language can be made into a chant with a little imagination. etTASK ‘© Write a chant for the following two lines of dialogue. A: What time does the bus leave for Bangkok? B: It leaves at 12:30. Songs & Looney Tunes Songs can be an effective and high-interest addition to language instruction. Songs can be used in many ways, including: * To teach vocabulary © To teach rhythm and stress patterns (The Drunken Sailor, Michael Row the Boat Ashore, Rock A My Soul) © To work on listening skills * To encourage discussions © To increase cultural and historical knowledge © To highlight grammar Types of activities include: © Listening and putting pictures in order © Cutting up a song, and then listening and putting the song in order * Listening and filling in the blanks Reading or listening comprehension © Working with rhythm, stress and intonation — hand clapping, hands raised, standing/sitting, ete. © Discussing vocabulary ‘© Discussing the meaning of a song Watching videos * Leaming songs * Composing songs * Acting out songs © Music for imagining (students close cyes and imagine things) Looking at the grammar of a song Past tense: Yesterday Second conditional: If! had a Hammer Present perfect: Where Have All the Flowers Gone? ‘Teacher or student produced lyrics for known tunes. What shall we do with a lazy student? What shall we do with a lazy student? What shall we do with a lazy student? Early in the morning. TASK * Complete the song (4 more lines). 78Procedure Play song — SS strand and tap rhythm © Clap and speak the lines from handout w/o tape Class echoes song karaoke style w/o tape © Class echoes song karaoke style w/ tape © Groups alternate echo chorals © Groups echo chorals w/o handout Some More Ideas Where have all the pencils gone? I can't find them? T'm leaving in a taxi, don’t know when I'll get to London. Yesterday, I stayed home and watched TV, don’t know what came over me, as T think about yesterday. I'm dreaming of a new Benz, just like the one my uncle has. If had a pencil, I'd write myself a lentes, I'd take itt the post office, I'd. 1. Teacher or student produced chants. ABC Chants: T'm going to Alaska, and then I'm going to Boston. T've seen an ant, but I haven’t seen a bear. T'll eat some apples, and then I'll drink some beer. © Nyaa, Nyaa, Nyaa, Nyaa, Nyaa, Nyaa © Pmtaller than Jimmy, 'm aller than.. © Debbie's going to Tokyo, Debbie's going to. © My books better than your book, my pens nicer than your. © She has some apples, but she doesn’t have any blueberries «Any Beat chants ~ DA da da DA da da DA DA DA....ctc TASK @ Write the following dialogue into a song for. ‘A: What are you going to do this weekend? B: I'm going to the movies with a friend. 79THEATER TECHNIQUES For PELT trainees: please watch DVD #15 Emily Strauss Theater techniques arc activities used in drama workshops to train actors. The relationship to teaching and learning languages has been around for some time, and was originally documented in Richard Via's book, English in Three Acts. The following is a starter collection of techniques that can be used to encourage the animation of language roles in the classroom. Special thanks to Mary MacDonald for Death in the Afternoon, and to John Morango for Follow That Tone, Jump Emotions and other great ideas. Death in the Afternoon Narrator’: Ladies and Gentlemen, It gives me great pleasure to present to you, "Death in the Afternoon.” Maid”: (Enter, dusting the room) Mr. Brown*: (Enter) I feel faint. (Faint) Maid’: (Scream) Mrs. Brown’: (Enter) What’s the matter? (Maid points) Call the doctor! Maid’: (On the phone) Doctor, come quick! Doctor® (Enter) I’m sorry, he's dead. Narrator’: That’s the end of the story. Thank you. Process ‘© Make groups of 4-6, One person can play more than one role, or there can be two “narrators” if there are six in the group. Tell groups to practice the skit. Memorizing the roles is optional. Add “modes” = i.e. slow, hysterical, opera, sleepy, stupid, etc. — as desired. Each group performs the skit for the class. Video is a fun option here A follow-up activity could have student groups writing and performing their ‘own mini mellow dramas. 80Follow That Tune Dade Process Pairs or small groups study a prepared script Pairs or groups practice among themselves. Teacher narrates as the students present role plays using the written script ‘Teacher or pair narrates as the students act out role plays without words Teacher, or another group narrates and students act out plays speaking and without script Teacher, or another group, narrates variations or expansions on the prepared script as appropriate. Roles switch as the actors change the script and the narrators have to describe what the actors are doing, Other students act as the audience while different “actor” and “narrator” groups perform. Jump Emotions Process Small groups (3-5) use pictures, drawings, tapes or other to develop the names, personalities, dress and other characteristics of two or more persons in the role- play. Groups develop a script of a length and complexity appropriate to the students level with the help of the teacher. ~ Students practice the seript = Changing roles occasionally - Starting with miming the dialogue - Experimenting with different emotions and modes Director brings each group on the “stage” and then calls out different emotions, modes or styles for the group to act out as they go through the dialogue. ‘An optional step for groups to critique each other for style and accuracy. 81Proverbial Mini-Drama Process © Groups of 4-7 students explore the meaning of different proverbs: -InLi -In English ~ As applied to everyday life © Each group chooses a proverb and further explores the meaning and expression in Li and English © The group collaborates to write a story around the proverb using contemporary life circumstances that they can relate to. ‘© Teacher assists the students in developing their story and the vocabulary and expressions needed, but should not direct the plot of the story. © Stories are read aloud, corrected and critiqued between student groups * Groups then develop a script from their stories. © Teacher assists students in developing the script and the needed language. © Groups present their plays as script reading to other groups * Groups present their plays to other groups. © Mini dramas are videoed for review and critique Note: While proverbial mini-dramas are presented here as a class activity, this activity can easily provide the content and process for much more extended periods. Proverbs provide a window on cultural beliefs and values. As such, they have a lot of emotional content and engagement built in, A class divided into two groups of 10-15 students can easily spend a semester developing the stories, scripts and theater presentations using the steps above. Borrowing from Richard Via’s ideas, while one group performs, the other group can act as the stage cast — prompters. Prop people, cameramen, and costume and make up people, directors, etc. Summary of Theater Techniques The examples above are just a few starters on the idea of using “acting” or “role playing” to facilitate language learning. When we speak another language we are, in faci, ‘acting’ out a different role. Most second language speakers feel that they are a different person in some ways in their second language. Teachers can utilize this by letting students ‘get out of their own skins’ fo try on the foreign language. This often makes it easier to speak since the risks are not to the individual, but to the imaginary personae. A very simple technique is to have students practice dialogues, ‘© Silently, only acting out the roles * Using a falsetto or other ‘voice’ ¢ Disguised in a simple costume ~ a mask, hat, or someone else’s clothes = Ina “mode” — sleepy, silly, creepy, cold, nervous, etc. Think of TV, movies, comics, books and other role sources, and let your students become another person, speaking English. 82BLACKBOARD TECHNIQUES Writing on the Blackboard Look at the pictures below o ; f two teachers presenting language on the blackboard, Which technique do you find m nost effective? Why? Organizing the Blackboard * Look at the blackboard below. What is wrong with it? * With your partner, organize the blackboard i learer and more efficient way. Can you think of a situation where the “collage” board on the left might be appropriate? a ae oe Bsc Ye, Z like suimmiay.. 2 thas /ishitas ann t * This unit was developed by Dieter Bruhn, when he was working with TEFL International on the TESOL Certificate.Structure Charts ='m | You're | ; He's { eating, shett | preparing we're | Rec RN ds They're | Look at the structure chart above, which illustrates the present progressive/continuous tense. © How could you write the chart on the board but still keep the attention of the class? ¢ How could you use the chart for practice? © Design a structure chart for talking about interests using “Do you like” | activities such as running, swimming, etc. Be sure to include a chart for the ‘answers to these questions. Using Blackboard Drawings With your partner, look at the drawings below and discuss what they show ° Ch : Bae Io eis eisthace a of a story based on this drawing. Then think 8, which you can use to tell the s| ; oe J story. Ty to draw some of the pictures, and then tell the story to another group,Other Blackboard Drawings Faces ~ should be large enough to see from the back of the room. ¢ How might you use the following faces? * Stick Figures — Body and arms are about the same length; legs can b slightly longer. Actions can be as ated by bending the arms or legs. © Places — Buildings and places can be indicated by a combination of pictures and words. SCHool oe oe Zoc: r (aries [Sanes | Prompts for Practice Below are two examples of prompts written on the blackboard. What kinds of activities could these be used for? es paint Suim Likes Dislikes Tohn | Boe 7 ; ees [Birt sat nay nk eee | Je Oe « PRACTICE Draw pictures to illustrate the following concepts. © You're late! He's embarrassed. We haven't been there. What about an action movie. What's your dream?M ind Maps Mind maps are non-linear representations of ideas war include both illustrations and words. TASK © How could you use a mind map to model or practice language concepts, ideas vocabulary and communication? © Who would make the mind map(s) and in what groupings? © What would the process be? » 7 ; Large paper or Board °”. WHL- questions \ 202 Colored pencils topic - middle ferent writing picture words 1-3 words OK “edit” latg Hs, dates * Mind map courtesy of Marc Helgesen Blackboard Techniques - Summary «Stand sideways ot slightly facing the class (if possible), so that students can see the board and so you maintain contact with the students « Flicit to the board whenever possible to involve students. © Talk as you write. To involve the class more, let students tell you what to write next. «Decide before your lesson begins how to organize the blackboard clearly. The center is generally a good place for writing structures. Vocabulary can usually be writen on the side. © Show structures clearly by underlining or using structure charts. © Draw pictures to help illustrate ideas, present vocabulaty, tell a story, ote. » Remember the saying: A picture is worth a thousand words. * Make your board “interactive” by eliciting to the board, and using whal’s brought to the board for further activities © Take off the board things that you are not usingNOTICING ERRORS © Error is a sign that the student didn't learn. © Exrorisa sign that learning is taking place. TASK © Consider the statements, and think about why you think one, or the other, or both might be true. Observe > Hypothesize > Experiment This is what we want students to be doing. Allowing the students to “experiment” implies that we are willing to accept errors as part of the learning process. Study of Jearner error and the development of “inter-language” (partially formed language produced during learning) suggests that students may be juggling several intermediate forms at any one time as they try to get a fix on what is correct. As well, the learner's awareness of error ranges from: © Tam aware of the error after I have said it © Lam aware of the error as I say it. * Tam able to correct the error before I say it Let's take a look at some examples of error. What is the student trying to say in each of the examples below? 1. Lralk to her yesterday. ‘¢ Say this sentence to your self correctly and incorrectly a number of times. ‘What's the difference in the sound production? Can you imagine why students might have a bit of trouble picking up the distinction, and then producing the difference to the satisfaction of a teacher? He borrowed her the book. ‘© What do you think the student is trying to say here?” Notice that there are a number of possibilities. What would provide the clue to which form is correct in this case? 3. They went there since yesterday. © Explore as in the above. 4, My name Emanual Silva. © Notice the possibility for L1 interference here, My name “e” Manual Silva. 5. want red book. ‘© What are the possibilities here? TASK © Discuss for each sentence, © WHAT error has been made? © WHY has the student made the error? © WHETHER the error should be corrected? © WHEN to correct the error? © ~— WHO will correct the error? 87Guidelines for correction Given that the teacher may or may not know what error has been made, what the siudent is trying {0 say, or what would be the best way 10 correct the error, pethaps the Fratzule of correction might be “patience.” Inappropriate error correction often leads Tamer “shut down” ~ ice. stop speaking or participating in the class. We will assume this is not what the teacher intends. While letting errors continue for long periods may Jead 10 had habits, it is probably advisable to delay correction until the Following criteria can be followed. Enor should be corrected when the correction is: Acceptable ‘Dhis means that the correction is not seen as a threat, and the Teamer is open and ready to adopt the corrected form. This suggests that the correction be done by remodeling with the whole class — on the blackboard, with T/T, T/S or S/S — rather than pointing the correction at an individual student. Understandable ‘This is a more subtle point, but will be well understood by anyone who has been corrected themselves, and not understood the correction. For example, in Thai someone says, ‘Let's go to sce Pi EL” Not understanding, one might ask for contimation by saying, “Oh Bi EI?” with a rising tone. Only to be corrected again by the ‘Thai saying, "No Px” With a falling or low tone. Since there are seven possible tone combinations here, many indiscemible to the non-Thai speaker, there is a high likelihood here that frustration and shut down will follow. Can you think of examples where this might happen in English correction? Doable ‘This refers to the situation when the leamer knows the correct form, but is unable to produce it, This can happen for two possible reasons. a) The comect form is known, but not part of the student's unconscious production/response system — i.e, When asked in an ‘on-the-spot’ class situation © How many boats are there? ‘The student may respond, © There are three boat. Leaving the /-s/ off even though the correct form is known. b) The correct form is known, but the learner is unable to produce the — correct form because of unpracticed neural-motor skills. For example, _ rolling the r's in Spanish, or the initial “ng” sounds in Thai. 88Error Correction and the Order of Acquisition Another factor in error correction that has been addressed in language acquisition research is the influence of the so-called “natural order of acquisition.” In first language acquisition, it is clear that children acquire language features in a discernable order. Word order comes first, and although children do not include all the words, it is clear that Mommy cookie means “Mommy I want a cookie.” While the exact features of language that are acquired at different stages is not a complete picture, it is clear that features like final inflections for plural and past forms, and the proper use of auxiliaries comes much later in the learning process. Whether or not the teacher agrees with the idea of a ‘natural order of acquisition’ or not, it is probably reasonable to suggest that the teacher’s expectations of fixing any particular error at any particular moment should be modest, rather than persistent. Ways and Means ‘The way a teacher corrects (or doesn’t correct) depends upon consideration of the above questions. Since in the classroom there is seldom time for detailed analysis, it often comes down to the question of what is the aim of the activity. As a rule, activities may be aimed at “fluency,” — i.e. getting students to speak or try out language — or, “accuracy” — i.e, practicing correct models of language. Also, in gencral, lower level leamers need more encouragement for “fluency” and less focus on “accuracy.” HOW to correct an error starts with looking at the possible sources of correction or feedback. Self-correction The most preferable since it strengthens the learner's confidence. The important thing is to give the student enough time to self-correct. The teacher's very nature to be helpful may get in the way, jumping in to supply an answer before the student has had a chance to respond. Encouraging self-correction might include: Pausing to allow for the response Providing supporting cues — board or pictures Recording students response on paper or tape, and asking them to loak for errors * Indicate that there is an error, but wait to allow the student to correct it Peer correction Peer correction might include: © Eliciting responses from the class to the board Students brainstorming responses in groups Giving students cut up sentences to re-assemble Writing incorrect sentences on the board and students correct Tape record students responses, and then the class listens for errors Teacher correction Can be effective as long as it is done carefully. Rephrasing the question Asking a clarifying question Remodeling T/T Asking the student to repeat the answer eoee 89Reference resources © Look the answer up in the student text * Lookin a dictionary © Look in a grammar book In sum, patience with error correction seems prudent, Allow the student opportunities to orrect, and provide focused activity to “notice” when errors occur. The guideline for correction should be “remodeling” rather than “correction.” Providing students consistently and repeatedly with correct models of the language is essential. Equally important is allowing them time to sort out language forms and usage as they develop competence. This is included in Mare Helgesen’s ideas on “language planning.” In other words, error correction is involved in the process of allowing students time to reflect upon what they are going to say or write before they are required to do so. This leads naturally into the next topic, ‘noticing grammar. 90HIGHLIGHTING GRAMMAR ‘The idea is to make students aware of grammar, form and usage, without making threatening corrections, giving misleading “rules” or taking the language out of context. Rather, noticing, grammar “highlights” words, phrases, structures or collocations in a varicty of ways, This is also known as “consciousness raising” and processing language output. There is some debate about whether making leamers aware of language form and usage helps or hinders the learning process. In Teaching Language: Grammar 10 Grammaring, Diana Larsen-Freeman quotes R. Ellis(1993), “ (He)..-has proposed weak interface position, suggesting that instruction draws Teamer’s attention to language features and permits them to develop knowledge of these features, but that Teamers will not incorporate such features into their inter-language (learner language) until they reach the requisite developmental stage.” Look at some language “highlighting” activities from Marc Helgesen’s “Grammar, Activities and Awareness,” Thai TESOL 2000. ABC Picnic © Ifyou bring the apples)___, I'll bring the (bananas) © We went to (Alaska)__, but they went to__(Brazil)_. ‘= He’s wearing a(n) __(afghan), and she's wearing a__(blouse)__. Find the Error (Don’t worry. Mistakes aren’t “viruses.” You don’t “catch” them) He play the guitar Noi go swimming yesterday. A airplane is more big than a car. Book Mary is on the table. Pat went 10 swimming yesterday. eeoe ‘Three minute grammar search Read through some of the tcxt and find as many examples of — e.g. past tense, irregular verbs, future, possession, comparison. Be careful to avoid linguistic terms as much as possible. Scrambled sentences Cut sentences up into words or phrases. Groups/pairs work to assemble sentences. This can be group competition and dialogue by having words to make both questions and answers. Listen and notice Read aloud a story at the appropriate level, Students listen and raise hand when they hear a specified grammar point. Listen and Sort Same as above, but hand signs for different (but related) grammar points — e.g. hands forward for future, hands up for present, hands back for past. otDIY Find the Mistakes Students change a paragraph from book to include specified errors. They read aloud for partners to see if they can hear the errors. Remember Stop in the middle of an exercise and ask students to list as many examples as possible of a grammatical feature Chalkboard blank filling race Students decide into teams and race to the BB to fill in blanks. For example: A is than a Imagine Have the students imagine what a sentence, phrase or word looks or sounds like. For example: He came to see me yesterday. Imagine the sentence written. What does it look like? Where is it written? Imagine hearing the sentence. What does it sound like? Who ig speaking? This can be expanded to have students write things in the air, on their hand, on their arm, and, where appropriate, on another students hand. The power of imagination to stir the learning process should not be underestimated. ESP Games One person (teacher first) imagines something, and others guess ~ e.g. Is it bigger than a dog? Is it hairier than a cat? Is it more dangerous than @.....? Further examples from other sources would include, Songs and Chants Small Talk and other books by Caroline Graham (OUP). and Singing Grammar by ‘Mark Hancock (CUP) are full of great activities that allow Expansion on these ideas from Mare Helgesen Target structures and the senses ‘These are techniques for helping students use different senses to work with different language forms. I usually introduce them one at a time, after leamers already know what they will be doing in a particular task. The letters after each idea indicates the main sense(s) used: SH Listen & Repeat Say each sentence. Students pause a few seconds and think about what they heard, Cue them say it. (Note - this is very traditional so it's an easy way to introduce sensory work.) (A-K) 9 a visual/sight A= auditoryfhearing KeKinesthetic/touch Silent L & R (Listen & Repeat) Say cach sentence. Students pause and then repeat it without making any sound. They pay attention to their lips, teeth, tongue, ete, and think about pronunciation. (K-A) 92Look at the words Students close their eyes. Say each sentence. Students imagine the words and notice how they are written. Typed or by hand? What color are the words? “They can mentally change the color of words; underline key grammar items, etc. (V-A) ()Lip-reading (Use this when you have several example sentences, a language box, ete, ) Students work in pairs. One chooses a key sentence and says it silently (as in ‘Silent Listen and Repeat). The partner watches and guesses. They take tums. (V-K) TWhose voice Students close their eyes. Say each sentence. Students repeat it in their minds. Ask students to think about the voice they heard when they repeated it. Was it yours or their own? They repeat it again in their own voice.(A) Picture this Students close their eyes. Say the sentences, Students image a scene that shows the meaning of the sentence. Then they imagine the sentence next to the picture. ‘Then, mentally, they repeat the sentence. (V-A) (Pictures and words (Use this when the forms/sentences involve a particular theme such as shopping, a sports event, etc. ) This is similar to Picture this. Students imagine themselves in the picture. Then they mentally write the sentence next to the picture. To review, give them a key word from cach sentence. They think of the picture and try to remember the sentence. (V-A) Write now Say each sentence, Students "write" with their fingers on their other hand or some rough surface. Some students will want to close their eyes as they do this. Others will want to say the words, mentally or aloud as they do it. (K and, with options, V-A) Writing in the air (Use this when you have several example sentences, a language box, etc.) Students work in pairs, One chooses a key sentence and writes it with a finger jn the ait (or on the partner's back or hand). The partner watches (or feels) and guesses the sentence. (K-V) That makes sense. This involves all the senses. Students close their eyes. Say each sentence. Students imagine themselves saying the sentence. As they do, they imagine each sentence appearing next to the picture of themselves. They listen to the voice as well, (V-A-K) Choose and remember. Once learners have done several sensory techniques, have them choose how they want to work with the sentences. They can (a) repeat silently (b) close their eyes, imagine the words being underlined, changing colors, etc. as in Look at the words (c) or focus on the voice. Before your start, remind them of their choices. Then say the sentences. Students practice the way they want. Later (cither right alter this or later in the same class), say one key word from each sentence. Students try t0 ‘remember the sentences. (V-A-K) ‘These ideas are included in the English Firsthand Teachers’ Manuals. 93In most current TESOL textbooks, students practice grammatical forms in contextualized functional situations — i.e. expressing likes and dislikes, asking for things, apreeing and disagreeing, etc. In these texts the grammar is highlighted either in “grammar boxes” or more subtly, with “noticing” suggestions. The following books are a basic sampler of sourves available, which highlight grammar, and offer meaningful grammar practice. © Beginner's Communication Games, Jill Hadfield, Longmans ‘© The Grammar Activity Book, Bob Obee, Cambridge ‘© Grammar Games, Mario Rinvolueri, Cambridge © More Gammar Games, Mario Rinvolucri and Paul Davis, Cambridge Pronunciation Games, Mark Hancock, Cambridge Input Processing, Output Processing, and Scaffolding While there is some consensus that paying attention to language form during the input stage may eventually assist the leamer in acquiring and using the form, there is more debate about the usefulness of guided production ot ovtput processing. In the extreme, this is the sort of habit forming choral repetition and substitution drills that characterized audio-lingual (ALM) teaching thirty years ago. ALM has since fallen out of favor simply because there was no evidence that repeating words led to meaningful communicative competence. Krashen has written, “Practice does not make perfect.” (1982) “There are numerous studies that confirm that we can develop exiremely high levels of language and literacy competence without any language production at all (Krashen 1994) Furthermore he says,”“there is no direct evidence that CO [comprehensible output] leads to language acquisition.” (1998) Larsen-Freeman writes We know that leamers require time to integrate new grammatical structures into their inter-language systems, However, it is not only that the transfer is delayed. For instance, eamers often produce forms that bear no resemblance to what has been presented to them or practiced. Where does this leave us? Looking at language form and usage during the comprehensible input stage — listen and reading - is OK, but when the student is speaking or writing, there nothing to be done but wait (?) This certainly leaves the teacher in a quandary. I would suggest that a middle answer here is suggested by what is called scaffolding — a process by which the leamer in dialogue with the teacher, or another learner, reconstructs output expressions. Recognizing gaps between what he wants to say, and what is understood, the learner can, in dialogue with others, refine and correct the output, There is a lot of observational evidence that this is exactly how non- student learners outside of classroom situations acquire language. They reconstruct their output expression through interaction with more proficient users of the language, not necessarily native-speakers. 94It might go something like this. A hypothetical conversation between two French high school students might show the following developments. Notice here that the speech is still not totally correct, but Peter has included in his response the “going” from Paul’s speech. Peter: Whar are you do after school Paul: I’m going to play football. Peter: You go play football? Paul: Yeah. We're going to play at school. Peter: Well, I going to home. It suggests that one of the reasons that student-to-student group work is an effective learning activity is because of the ‘noticing’ and rephrasing that takes place between peers. The dialogue with the teacher or parent becomes more problematic, probably ecause of the “threat” posed by correction. This dialogue between Martin Braine and his daughter at the dinner table from The Language Instinct by Stephen Pinker seems to illustrate this nicely in an LI situation. Daughter: Give me the other one spoon please daddy. Father: ‘You mean give me the other spoon? Daughter: Yes. Give me the other one spoon please. Father: Can you say..."other?” Daughter: Other. Father: Can you say ‘other spoon? Daughter: Other spoon... Now, can Ihave the other one spoon, please? Practical Suggestions Probably the first thing teachers can do is to let the natural processes work through peer imeraction. Collaborative group work that requires a “product” in English ~ eg. a poster, report, role-play or game activity — allows students to interact naturally, “noticing” and “restructuring” their language output as their competence develops. Teachers may object that this is not enough. This may be true. Left on, their own, students may just lapse into L1 with little or no L2 language use or practice. That's why it is critical that the teacher: 1. Create an environment where language practice and experimentation can take place. This means that, © There is meaningful context for language practice © The form and meaning of the target language has been adequately modeled © Individual students are not ‘put on the spot’ but allowed to participate when they are ready © Controlled practice activities are provided which are interactive and engaging 2. Develop a collaborative learning community in the classroom by, © Encouraging students to work together most of the time © Getting students to help other students © Changing student grouping regularly 9596 3. Assign tasked group assignments that, Require target language that has been modeled and practiced Engages the students in something they care about Include a ‘process’ task like making a poster Have a ‘payoff’ that requires the student to do something in English Scaffolding or output processing is a natural outcome of a collaborative learning process, and may provide the key to the development of grammatical accuracy when the student really cares about what is being communicated.CLASSROOM MANAGEMEN' Classroom management means “people management” while teaching, or, in other words, how to direct the students to do what you want them to do. There is a clear relationship between the content and process of the lesson, and the management of the class. Overall, well-planned lessons that meet the needs, interests and pace of the students work the best in terms of getting the students to do what you want them to do. This should include anticipation, even expectation, that students may diverge from the teacher’s lesson plan in directions that might be followed, as well as, potential diversions to be avoided. A lesson that engages the students in activities that interest and challenge them seldom presents the problems that require us to resort to ‘extraordinary’ management methods. With that in mind and recognizing that it is not a ‘perfect world,’ classroom management also must consider the spectrum of tolerable behavior based on the: ‘© Teacher's patience with disorder ‘© Requirements of the institutional * Expectations of the learners for a safe and comfortable learning environment Some general principles © Make a distinction between “behaviors” and “judgments.” Students “talking” may, or may not be “disrupting the class.” Non-participation may mean that the student is not paying attention, or it may mean that the student is reflecting on the lesson. Two boys fooling around might interrupt the clas: but it is not necessarily “bad.” It may merely be a sign that the teacher is moving too slowly to engage them. The main point is that dealing with classroom behaviors is more effective if the teacher can keep emotion out of the dynamic. This does not mean that there is never a time to indicate that certain behaviors are unacceptable or wrong. It does mean that dealing with them is usually more productive without making judgments. © Deal with classroom order and discipline at a level appropriate to your own feelings and beliefs. Some people can simply stand more chaos than others. You have to establish a level of discipline and order you can live with. What is “right” in the classroom is closely connected with each individual’s values, attitudes and beliefs. Thus, a noisy chaotic classroom atmosphere may be “tight” for one teacher, but “wrong” for another. As well, our choice for dealing with classroom discipline problems are related to our own personal lists of “rights” and “wrongs.” Being aware of our individual “values” is critical for making appropriate decisions about classroom management. * To the degree possible, negotiate classroom rules and procedures with your students. This might start with groups or a committee making suggestions. Regular, or, “as needed’ returns to the groups should be included to revise, add ot delete rules. That does not mean that the teacher will be ruled by student recommendations, but that the teacher will solicit students’ ideas, respect them and include them as appropriate. Ultimately, the teacher must be the final word. 97TASK Two students are talking while the teacher is modeling/presenting language to the class, What do you think would be the most effective teacher response’ Approaching the Classroom - Some Basics to Consider Professional Behavior and Dress While this varies from place to place, in general, teachers are expected to represent conventional and relatively conservative models of behavior and dress. Students have expectations about how their teachers should act and dress. “Making a statement’ as a teacher may cost more than it’s worth in terms of credibility and respect, most particularly overseas where the native-speaker may not really understand the student’s expectations. Encouraging Learning vs. Entertaining The rule of thumb here is that a teacher should be entertaining, but not an entertainer. There is no doubt that many teachers can be very effective in drawing the attention of their students through humor, entertaining behavior and being engaging personalities. This is useful to focus the student’s attention during some modeling and practice activities. However, it is equally important for the teacher to know how to step out of the limelight, literally, to get out of the students’ way. As we move through the basic lesson paradigm of model to practice to communication, it becomes increasingly important for the teacher to step back. The “teacher as entertainer” role can get in the way of the essential fact that ultimately, it is the students who have to “do” things to become competent in a language. Be Prepared ~ Lesson plan, Materials, and Resources This is self-evident, but often forgotten in the everyday routine of teaching. Sometimes, familiarity with a class can lead to lack of preparation since the teacher falsely believes that he can work something out as the class goes along. Another common diversion from planning, is re-teaching a lesson that has been done with other classes. Whatever the case, there is no doubt that the best classes are preceded by the best lesson plans, This means that the teacher has carefully considered, © The context of the lesson in the learner's terms Modeling and target language The objectives of the lesson in student terms What the students will do at each stage How the teacher will facilitate what the students “do” ‘The potential problems that might arise at each stage Approximate timing for the lesson activities ‘The sequence of activities in terms of learning and student engagement The amount of material needed to fill the allotted time and offer alternatives Lesson planning is the first consideration in classroom management since engaged students seldom require “problem management.” 98Establishing Your Presence in the Classroom © Convey a need for order by your body language in entering and organizing the classroom - ie. clean board, lay out materials, check on seating arrangement, etc. © Recognize each person in the class with eye contact, gesture or speech. You initial movement around the class at this point can be helpful in establishing this, * Establishing order may involve telling students to put things away, or to take out class materials. Classroom Arrangement TASK + Discuss, What is the ideal classroom arrangement? Why? © Whatis the most common classroom arrangement? Why? Names Knowing the students’ names is one of the most effective ways of establishing rapport with your class, and maintaining control during the lesson. Here are some ideas. Name Games Get students in a circle, Each student says their name, and the name of the previous students who have spoken as you go around the circle. It gets harder as you proceed, but it does focus everyone on the task. A variation here is to have a name association like “Dan the man” to assist the memory process. = Taking role. Sounds pretty traditional, but I expect has been the mainstay of teachers for years to remember and use names in the classroom. This can be made more fun with something like “bullet questions ~ i.e, quick questions fired at each student that relate to the previously studied or known language. It can also be fun to involve the students in taking role so it is not just teacher-centered activity. * Picture. Some teachers make a photo album at the beginning of every class semester, and keep it handy for reference. With digital and computer technology this is becoming an even handier option. “uss, How can you remember student names? How can you continue to remind yourself of names during a semester? 8Eye Contact and Position Use eye contact to recognize the presence of everyone Mt the class, both at the beginning of the class, and during the class so hat all the students know that you are interested in what they are doing. + Obviously, your eye contact must be friendly and brief enough not to embarrass, This is particularly important in some counini¢®. «Bye contact is a way to keep in touch with other students in the cla you are addressing an individual, or a group. «You should combine eye contact with position in the classtoom by standing close to some students while using eye contact 10 maintain contact with others. © Changing your position helps you to check on everybody in the class, and makes sure you don’t ignore someone. © Remember, getting close to someone: ve esn’t mean you must ‘confront’ them (demo), and ~ Can be an effective way to “reign in” students whose attention has wandered. when Gestures Most effective teachers have developed! a set of classroom Best™ to indicate what they want students to do. These gestures are often more effective than voice Tocdons, and at least reinforce voice directions. Unneossstly teacher talk and staeetione actually tends to raise classroom ‘hubbub’ and “clutters’ the atmosphere with unneeded noise. Some typical gestures are: Listen - hand cupped behind the ear Repeat in chorus - sweep of the hands ike an orchestsa director Stand up - raising the hands palms upward Sit down - motioning downwards with the palms down Get into pairs - hand or finger movements to show getting together Stop - clap or time out sien Good - thumbs up or smile and nod (Watch out for.) Not right - facial expression, plus shake of head or Binges 2 Nearly right - outstretched hand rocked side to side oF thumb and fore-finger slightly apart «Interesting idea - raised eyebrows and nod © Bliciting - beckoning with the cupped hand 2 Say again circling motion with hand to one student Missing word - “fingers” ~ one finger for each word indicating that one word ismissing Remember, when you meet a class for the First few fimes they will be unaccustomed to you and your gestures. You will ave 10 reinforce your gestures with spoken directions, and there may be some initial hesitancy or confusion. 100What is To Be Avoided? © Be careful not to use any words, gestures or body language, which is offensive to your students. * Be conscious of, and try to control, any “tics” which might irritate or distract the class — for cxample, rapid movement around the class, saying “OK”. “Right, right”, “Good job” or other repeatedly. Seating Arrangements ‘Things to consider: © =Who sits next to whom? © Are seating positions fixed? © Ifthey change, when and how often? © What are the advantages and disadvantages of fixed vs. flexible seating? To create a learning community in your classroom you may want to move students around quite often. Once they hecome accustomed to this, it should contribute to the level of interest and engagement in activities since students do not keep talking to only a few people, Even in a classroom where fixed seats may be required or desirable, it is useful to move students around temporarily a few times during the class to create more interesting communication dynamics. Re-seating students as a classroom management tool is also an option. Separating two unruly boys, or girls, is often the least disruptive way of dealing with fooling around or excessive talking. Teacher Talk Teacher talk can be one of the best soutces for authentic language in the classroom. Clear instructions by the teacher are “real” language communication and are essential for good classroom management. Discu The teacher can provide invaluable input for the class with: ‘© Authentic listening texts - a tape cassette is not always needed Anecdotes and stories, particularly for cultural exploration and personalizing Modeling for form, pronunciation and meaning Correction of errors Explanations of language points TASK © What are the disadvantages of teacher talk? Discuss the following: ¢ How can you use it, and not abuse it? * What are the guidelines for “appropriate language” that must be observed here? © When might “explanation” be useful and appropriate? © How do you know how much teacher talk is appropriate? 101Eliciting This is a common activity in classrooms all over the world. It is used to: © Get students involved and interested © Check on student level Focus on topical, situational or functional areas Personalize the lesson with student input © Encourage initiative ‘At the same time, it is important to realize that eliciting, in itself, is not teaching. In other words, if the student can answer and provide words or ideas in English, then they are already known. Getting partial responses or individual words may be @ starting point to build on, Alternatively, iis a way that students in a class can share ‘and build their store of vocabulary and expressions. For this reason, it is important that the teacher choreograph the situation so that the vocabulary and expressions offered by the students are recorded and shared. This is done by: © Eliciting to the board ‘© Brainstorming on poster paper © Students writing no the board TASK © Discuss: © Techniques for eliciting would include asking relevant questions. What questions might you ask? © Can you think of other techniques for eliciting? © How would you share the information? Pair work Pair work is an important interactive activity because it: @ Gives the student a chance to practice, and experiment with what they are learning. = Allows the teacher to withdraw and monitor student performance and progress ‘© Encourages rapport and collaborative learning Builds affective competence (confidence) Encourages shy or withdrawn students to participate Encourages learner autonomy Adds variety to the lesson ‘Allows the student to “invest” in the lesson and personalize 102TASK © Given that all these things are desirable, discuss © What are the essential prerequisites to pair work? © What should the teacher be doing while pair work is taking place? Trios Mini-groups of three’s is a great altemative to group work since it focuses the speaking activity more. It is an improvement on pairs since one of the students can watch and listen, while the others speak. The observer in the trio may in fact be learning more than the participants. At least, the individuals get to make some choices about who speaks and when, plus the additional input from another student. Group work Group work is an extremely useful, communicative learning activity. It is natural and engaging for most people to exchange and develop ideas in a group. If the teacher encourages a collaborative, helpful atmosphere, the peer exchanges in groups can be of critical importance in developing language competence. Itis likely that much of the “scaffolding” dialogue between students occurs in this format, with the sharing of ideas, vocabulary, language form and usage. Group work is often the best answer for large classes and difficult students. The activity itself is engaging, and it allows the teacher to focus attention where it is most needed for both input and control. Group work needs to be carefully planned and executed. TASK © Discuss * How would you prepare for it? How do you “task” the group work so that students stay focused? Things to consider Preparations Group work needs to be linked to the context and target language that has been modeled and practiced with the class. The students should know clearly what they are expected to do, and have language models and resources available. For example, in the “Expanded Lesson Framework” the group work stage is modeled by the listening activity — ie. the students are expected to produce their own dialogue that matches the fill-in listening dialogue they have just completed. Another possibility is for the teacher to show a completed, or partially completed, example of the work that the students are expected to do. Working group size is normally between 4 and 7 students. Do not be overly concerned if the students use L1 in the group, as long as the “product” — for example a poster of presentation — has to be in English. 103Focus or “tasking” of acti It must be clear to the students what they are doing in the group. They must have 2 clear task — for example, making a poster, preparing a group dialogue, drawing and labeling pictures, or writing a story. One of the easiest devices for doing this is poster paper. Asking students to develop dialogues, lists, mind maps or writing on posters gives the group a visual focus, and at the same time, provides the teacher with clear evidence of what the group is doing. Using poster paper and markers makes the task large enough for the entire group to see and contribute to. The teacher can often elaborate the poster focus by providing a picture, symbol or format (like columns) for the students, TASK © Use the symbols below to write a brief story © Tell your story to another group © Write a script for your story and role-play for the other groups Choreography - Setting up the Group The most common practice is probably “bunching” ~ the teacher groups together 4 5 students sitting close to cach other. While this is OK, it may be better to count off the students and then group them by number —i.c. all the 1’s together, all the 2's together, etc. This has the advantage of separating friends, which often makes the groups work better. Changing group make up occasionally is also recommended, although groups would normally remain consistent for a given activity or task Sharing info ‘Another feature to be choreographed is Some possibilities: sharing group information and products ‘© Poster sessions. Put posters on the wall and walk around ‘© Spies. Bach group sends “spies” out to find out and report on what the other groups are doing © Pyramiding. Putting two groups together to exchange or present w have done * Class presentations Immigrants. One member of each group “emigrates” to another group taking along information about what their otiginal group was doing. * Teacher elicitation to the board. hat they 104Products Focused group work needs a task, as mentioned above. but there must also be a product, or result, that puts the students the spot to do something with what they have produced, This could be: © A presentation * Arole play * An audio or video tape * A fishbowl discussion (the rest of the class observes but does not participate) Interviewing native speakers outside of class «A simulation — an elaborate role-play involving multiple characters and roles. Timing - How long? This will depend upon the class, but something the teacher should plan careful and review as the class proceeds. In some classes the group activity may take up less than 10%-20% of the class period, In other classes the majority of the time may be spent in groups. Some of this will depend upon level. Usually, lower levels need more modeling and controlled practice time, and thereby, less group time. More advanced classes may spend most of their time in groups with the teacher coaching cach group individually. The critical question is how much input is needed for the eroups to function. If a lot of input is needed, then the teacher will have to spend “whole class” time doing this with models and practice. Group time will follow other class activity. The proportion of group time will increase, as the need for input becomes less ‘When in the lesson’ Just about any time is fine. A class could begin with students brainstorming ideas and vocabulary, and then go on to modeling of core materials and controlled practice activity. Brainstorming could follow the introduction of a core dialogue to develop additionally vocabulary in the middle of a lesson. Groups could come at the end of the lesson to prepare for presentation or role-plays in the following class. Management Once the teacher has established the group task and checked with each group to assure understanding, the best step is probably to step back and take stock of what is happening. Teachers ofien feel compelled to be doing something, and this may translate into getting involved with the group work, While this may be helpful, initially it may be best to let the groups work a bit on their own while the teacher observes, monitors and determines when and where intervention is needed. If things are going well the hardest job may be to do nothing. Teachers need to encourage independence and self-sustaining group activity. Another factor is the need for the teacher to encourage and show appreciation for what the students are doing. Thus, while the tcacher should intervene only as necessary, careful monitoring and attention are important. 105Monitoring All classroom activities require teacher monitoring. While classroom management involves “controlling” the class, and maintaining order and focus, it also means monitoring - constantly checking - on the progress of student leaning. One of the first things that teachers need to remember is to pay attention to what their students are doing. This may seem obvious, but it’s not just watching over the students, but looking carefully at what they are doing. First and foremost, students are doing things to please the teacher. If they don’t think the teacher is noticing and interested in what they are doing, then they won't be. Some points to consider: © Back off a little bit in the beginning of group or pair work to emphasize that students should work on their own, and to assess where your intervention might be most needed. © Consider how you are going to check on progress with students who are not responding vocally. © This often means having them write things, both as part of the ‘task’ involved, but also so the teacher can ‘see’ what is being done. © Move around the classroom so you have a chance to check on each student, and keep an eye on the rest of the class as you. The problom here is that teachers often get so involved with one group, that they ignore what is going on in the rest of the class. Potential Problems Consider the following situations and discuss how you might handle them. 1. One or more students are not participating or engaged in the lesson. 2. A group of students come into the classroom after the lesson has begun. One student has her head down on the desk and other students are looking at her. a The beginning of the class is delayed because two students are fighting. 5, You have assigned a task, and some of the students have already completed it, but others are still working 1066. You have purposely counted off students to work in random groups of 5, but some students want fo stay with their friends and don’t go to the assigned group. 7. One student is causing disruption (acting out). 8. Write your own “incident.” 107EVALUATING TEXTS Before you can decide on a text, you have to profile the class. Who are the students? ‘What is the level, age, motivation, syllabus, etc? TASK 1 © Specify the criteria for determining the needs of a particular class. Check “Notes” for answers. age level eee. eoee TASK © Look through five student course books. Write the name in the left column, and in the right column, what you like and dislike about each book. Title ‘Comments 108TASK © Determine ten basic criteria for evaluating a text. ‘Some Evaluation Approaches © Grammar Pick a difficult grammar point — e.g. present perfect, determiners, past forms, etc. Compare how it is taught in different texts. Is grammar “noticing” utilized? ‘* Language Look at the language in dialogues and other samples. Is it natural Tanguage in a situational context, or is it re-scripted language for the classroom? © Context Are the lessons contextualized by real life situations or language functions? Particularly important that context is appropriate for a specific target group. -ections The perfect text would be so clear that a teacher's manual would not be necessary, and is clearly shown what students and teachers should do with the materials. © Lexis Does the text reflect what we know about the importance of co textual relationships — i.e. does it use collocation in its language models and practice activities? — ie. does it show that certain words are likely to appear together in the same expression? An example of this is the occurrence of since and for with the perfect tenses ~ e.g. I have studied here for three years. © Activities Are there a varicty of activities? Do the activities vary, but maintain some sense of predictability? A good text will have some basic patterns, but will have a variety of exercises and variations in sequence. © Visuals A picture is worth a thousand words. Does the text utilize pictures and use them to prepare listening and reading and provide lesson context for conversation and writing? 109