sil toed Acrostics and anagge e St Oi e . ll [| : + a” NGHSt story is a4 i iNewsademic.com” Easy-to-read international news for English language Students Newsademic is an easy-to-understand international newspaper, written and edited in a style that assists English Language teaching and learning. Currently teachers and students in over 100 countries subscribe to Newsademic. Newsademic is a fortnightly publication (20 articles) and associated website. Both British and American English versions of the newspaper are available. The easy-to-read newspaper features the top world news stories that have made headlines during the previous two weeks. Produced in both a PDF and HTML format many ELT/EFL teachers and students consider ita hugely valuable resource. Newsademic Features: 26 issues in 12 months. Features stories currently making the international news. Articles, written in an easy-to-read style, include latest news plus background information and explanatio Each issue is accompanied by two sets of activities/worksheets and the respective answer keys. Articles featured reflect no political or religious bias. Stories are reported factually and every attempt is made to feature both sides of any situation in which opinions differ. Focus on international news events that shape and affect the world that we all live in today. Carries no advertising. It is now possible to order a Newsademic subscription from The Teacher, in Poland, at a discounted price of 79 zt for a limited time only. I crcaeeesiian intensifier Newsademic.com | The ntorative nyo ead itd twat ews Get the latest issue of Newsadem Asa sample you can get the latest is- sue of Newsademic newspaper plus the advanced and basic activities/ worksheets that accompany it. To do this visit, or click, the link below and complete a simple online form. www.newsademic.eu/pl Activities/ Worksheets For more information please visit our website www.teacher.plNOVEMBER Sse eeeneeee host stories go as far as to ancient times. They Were tales about spirits that returned from the dead to haunt people.and places that they left behind. These stories involved a great number of historical figures such as kings, queens, politicians, gangsters or writers who died in mysterious and/or violent ways. Why are ghost stories so popular and why do people tell them? It is believed that they have pagan roots. These tales, were probably meant to teach the young a lesson and came with a moral. Some of them simply made people avoid particular behaviors ot situations, ‘Asa child, | was told many scary stories but, to be honest, they left me more traumatized'than cautioned® | can remember one, which | was told wheriever | was caught lying. The Boy Who Cried Wolf There once was a boy who kept sheep not far from the village: He would often become bored and to amuse himself he would call ou, “Wolff Wolf,” although there was no wolf about. The villagers would stop what they were doing and run to save the sheep from the wolf’ jaws. Once they arrived atthe pasture, the boy just laughed. The natighty boy played this joke over and over until the villagers tired of him One day while the boy was watching the sheep, a wolf did come into the fold. The boy cried and cried, “Wolf! Wolf!” Noone came. The wolf had a feast of sheep that day. Ghost stories are still very popular among the young as well as the older audience. Their purpose is rather commercial nowadays. You can read more on the topic in the latest piece by Trevor Hill, entitled ‘Ghost Stories’ Story taken from: http://www. storyit.com/Classics/Stories/boyeriedwolf;htm — ie Patryk Blacha Editor-in-Chief 11 (133) 2015 4 »> sara = aN pase # 0 WZ DOS : °° Published by: Uu Ub lalebraeska 15l¢k. 21 (2.370 asco, Plana 4482045 1948 48 (22) 213 8440 ofiesoteacherp Edtorin-chief atyklocha ‘BE s48(02)357 2822 & patykateacherpl Adversog Sales Manager: ‘Saris Wanton BE ssesca01 9139 & rekanapieacorp| Design: “he Teacher OTP Stato 1 tpoteacheroh Suthers lara Flperk ww pikezersy.com Copy Eto: Magdalena Moxoawa teacher Sit Manager: ‘ania Wanatoce Beaanns Be saa506579907 comceatescherpl “8 22) 425 1946 448 (202138440 brudoaecachecl Prenumerstasteneher pl Printed by: JUS moat cpg of me ty eh ress you {hepuslane guns peemson rth ptssarn thse ages ‘rated photceae Gost poten ‘ercomencsnleng, Altoona pope emit ubliher “Teacher Tomasz Pos PhO UBalobracsk 186k 113 370Warzawe, olind vas aq2141250 Tolozajotescherp Wi reacher enti lanai If reading The Teacher has inspired you to contribute an article of your wn to the magazine, please send ito the editor: editor@teacher.plCONTENTS FISZKOWKA na 6 How to use stories Edyta Socha Running on empty? Hack your lesson planning! Milada Krajewska Acrostics and anagrams ot faill just put pen Aleksandra Szudy-Sojak ELT CuLrure seeeeee aun The dance of the elements English village culture: A short review on individual ‘Summer fetes and festivals differen ind their Michael Czajkowski implication for foreigr language teaching Ghost story Magdalena Torzecka Trevor Hill Emotions in teaching and learning English innovative teaching Angelika Skotnicka Famous and not so famous places in Britain (Part 3) Using literary passages Colin Elis in teaching English culture ahi Marura at intermediate level Karolina Hadzicka Praykladowa sekcja Srodki jezykowe z nowego Repetytorium maturalnego Assessing Leamersy Speaking Skis Longmana. Andrzej Raczkowski Poziom rozszerzony 11 (133) 2015DOS Marta Rosifska Grzegorz Spiewak TEACHER TRAINING SOLUTIONS wrazz entuzjastycznymi trenerami i DOS-ELTea Teacher Trainer Academy zapraszajq na super-intensywne warsztaty dla nauczycieli jezyka angielskiego eneramee (17205 Perms) (10-1236) 512 Lesson erm 6 ezyli neurodydaktyka wreszcie w praktyce! inspirujaca i uskrzydlajaca sesja plenarna — jak naprawde uczyé jezyka obcego przyjaznie dla mézgu trzy super-intensywne bloki warsztatowe — jak praktycznie zaangazowaé emocje, pobudzi¢ ciekawosé i rozpalié motywacje wspétezesnego ucznia Swieze pomysty na powtérki jezykowe, prace z tekstem oraz wykorzystanie nowych technologii - jak nauczanie przyjazne dla mézgu skutecznie wprowadzié do klasy jezykowej oUt CU UC) Beat Rim UH Ceca ST partnerzy projektu: BTeacher BAK aLCHECK IT OUT! IE FISZKOWKA na6 ~ an entertaining way to test your students Being a good teacher is not only about motivating students to learn, but teaching them how to do it properly. And the best way to make them understand - is to show it to them in practice... Bearing al this in mind, Cztery Glowy Publishing House launched a new project aimed at school teachers who want to support their students in enhancing their language skills by using most efficient learning methods. The project is called FISZKOWKA no 6 and is best suited to English students at primary schools, but can be also used at high schools, one-to-one classes ar group lessons at private language schools. What is surely worth mentioning is that the facilitated materials are absolutely for free! Every teacher can order them easily for his students at vaww.fiszki,pl/fiszkowka and they will be sent by post to the given address. The learning method worth popularizing The aim of the project is to show students how efficient and fun language learning with help of flashcards can be and to encourage them to explore the method of spaced repetition and selective learning, popularized in the 70s by the German psychologist Sebastian Leitner. The learning system consists of a box with compartments (MEMOBOX®), filled with flashcards. The learning technique consists in translating the Polish word or phrase from the flashcard into English. The English expression is to find on the other side of the card. If the translation is correct, the card can be put forward to the next MEMOBOX® compartment, ifnot - it goes back to the first one. This system enables to schedule the learning process by revising only the selected material that stil needs to be memorized more often that the already learnt one. Learning by doing As mentioned before, itis crucial for students to see in practice that using flashcards can be extremely helpful in reducing the learning effort and improving the results at the same time. It is possible by presenting them with the thoroughly selected flashcards and providing them with the prompt feedback with the help of the FISZKOWKA+test. The set of 20 cards with funny pictures, helping to memorize the material, should be handed out to each student, with a short explanation of how to select the material and learn in the form of a quiz (detalled guidelines for the teacher are included in every FISZKOWKA na 6 set). tte down ae Kase sie meee || Then, after one week, teacher hands out FISZKOWKA-test, which should be completed byall the students in no more than 15 minutes. What is important, thanks to the layout of the test (funny pictures and crosswords) it can be treated more like an entertaining exercise than a difficult test that students tend to be fearful of. Currently, there are three FISZKOWKA na 6 sets available to order at www. fiszki,pl = Irregular verbs (for beginners), = Phrasal verbs (for intermediate learners), ‘= Idioms (for advanced learners). Each of them contains: = 20 flashcards and a FISZKOWKA-test for each student, = guidelines for the teacher and the answer key. Just try it. Your students will love it! And you can be sure that they will appreciate all the attractive prizes there are to win for taking part in the project... For more details go to www fiszki pl/fiszkowka, 11 (133) 2015lang.com.pl/odn le twist.lang.com.pl AUTEN A C = i » CELTA VAY) ! > Young j . ee ee \ Ct N tylko dla nauczycieli z pasja : VAN A Warszawa \ AN ds PET) sere) Ulta oe ee PLANetarium - grammar lessons for adults& metody aktywizujace dorosiyer angielski w przedszkolu | drama dla dzieci eer Couric) Pee ene cnr nrHowTo... DOS-ELTea TEACH FRESH - How to ... series Episode 3 How to use stories Edyta Socha he TEACH FRESH - HOW TO ... Teme series, brought to you by DOS-ELTea and guest-edited by Grzegorz Spiewak and Marta Rosiriska, aims to offer fresh, hands-on, tried and tested activity scenarios on a range of aspects of teaching English to learners of various age groups and levels of language competence. In episode 3, Edyta Socha takes a fresh look at stories, suggests a renewed rationale for using them more often, and as is the trademark feature of this series, offers several ready-to-use activity scenarios for different proficiency levels. “after nourishment, shelter and companionship, stories are the thing we need most in the world’ Philip Pullman Throughouthistory, storieshavehelpeduslearn about the world, understand complex concepts and most of all, preserve information. Stories are everywhere: in novels, films, pictures, fairy tales, folk tales, newspaper reports, anecdotes, gossip, childhood memories. Their power lies in how entertaining and thought-provoking they are. As psychologists Green and Brock claim, stories are literally able to transport our mind to another place. We empathise or identify with the characters. Being involved, our brain does not let us quit a gripping story without asking “what happened next?" DOS Edyta Socha Edyta graduated from Foreign Language Teacher Training College in Sieradz and English Philology in ddd. She has been teaching English to secondary school students but she has worked with other age groups of language learners as well. She is a proud graduate of DOS-ELTea Teacher Trainer Academy. Her main areas of interest include brain- friendly teaching and using new technologies in ELT. 11 (133) 2015www teacher. pl seee and desperately seeks for the resolution. It is hard to find a better motivation for learning. The examples of storytelling techniques below show that stories are truly flexible - they can be one sentence in length or very long, simple or complex, they can be done at any time of the lesson. These activities may create a perfect beginning of the lesson, they could be the core of the lesson or a time filler; they may also be a great kind of homework task. They can be used to practice listening, speaking or writing skills, and they may also explore every aspect of a target language vocabulary, grammar structures and even pronunciation, Therefore, storytelling is one of, the most powerful linguistic and psychological tools that can be used to teach a foreign language to virtually any group of students. Chinese whispers (ELEM+) Avery popular children's game, underestimated or simply forgotten by many teachers, is actually ~ potentiallyatleast -anincrediblyusefulstorytelling technique for your language classroom. Students sitin a Girdle or stand ina line. The teacher whispers a sentence or a phrase to the first student and hey she has to pass it whispering to the next person. ‘The process continues. The last student says it out loud, The aim of the game is to pass the sentence unchanged. Students may want to start the game themselves, which raises their self- confidence. itis a good warm-up for a storyteling lesson. It creates a tremendous opportunity for pronunciation and listening practice. Story circle (ELEM+) Students sit in a circle. You give them a story starter, eg. "Once upon a time...” and the person next to you continues the story. Then the next person builds on what the Previous students said, etc. until the story comes to a resolution. You can pre-select a title or a subject to guide the improvisation. Try recording the story circle on any digital device for later listening. it is a great warm-up activity that aims at building a story together and thus enhances students’ confidence, Go on an Selfie Adventure (PRE-INT+)' Prepare a slideshow of 20 selfie photos that show your story. The pictures will include: your favourite food, a group selfie (a photo that presents you and a group you belong to), 1 Activities adapted from: Terrel, S. (2015) Back to Schoo! Seifie Adventure Activity for Students. wiv siceshove net 41 (133) 2015 goal that you want to reach, your achievement or talent, a book or film you enjoyed, a phobia, a new friend, the great outdoors, a photo of you taken “from a different perspective", someone you love, you playing dress up, a hero that you admire, a selfie with an animal, a photo in ‘@ vehicle, a local landmark, a collage to describe an adventure you took part in, your friend, you in someone else's selfie and a selfie changed with a funny app. Tell your story to your students, write down useful words and phrases on the board, Then ask them to prepare their own “Selfie Adventure” and share it during the next lesson. It is a great way to present yourself to your new students, get to know them and build a friendly group atmosphere, Change the story (PRE-INT+) Use a text from your coursebook. When you finish working with it, divide it into two parts. Give the first half of the text to student Aand the second half to student B. Their task is to look at their parts and choose 10 words that they think are important, attractive and which they want to remember. When the words are chosen, ask them to tell their partner a story, e.g. describing their last weekend. When student A describes his/her weekend, student B calls out his/her words from time to time and then student A has to include the word and change his/her description spontaneously, which brings a lot of fun. Then they change the roles. This technique aims at developing students’ vocabulary and speaking skills and it is truly involving, Music, questions and a film story (PRE-NT+? Select three pieces of music, each about two or three minutes long. Make sure they are of very different kinds. Tell your students that they are going to write a film story opening. Ask them to close their eyes and play the first piece of music. As they listen, they should imagine a place, look at it, listen to it, feel it and smell it. After two or three minutes ask them to open their eyes and write down words and phrases describing the place. Give them two or three minutes to do it. If they ask for help, write the vocabulary on the board and say that anyone can borrow anything written there, Tell the students to listen to the second fragment of the music with their eyes closed and to imagine a person or people in their place. What are they 2 Wright, A. (1997) Creating Stories with Children. OUP ~ academy »> 7HowTo... doing? What do they look like? Who are they? After two minutes ask them to write any words describing the people. In pairs the students tell each other their ideas. Play the last piece ‘of music and ask the students to imagine their characters again and see where they are and what they are doing. They write this down as well. The students now make new pairs and tell each other their film story opening, based on the notes they have made. Finally, the students write up their stories. You can ask them to develop their stories as a homework task. Colour or advance the story (PRE-INT+) Tell your students the beginning of a story. Ask individual students to continue the story, but the way they do it depends on two instructions you are going to give them. They are: colour = which means they have to give more details to this point of the story, or advance - they need to follow to the next stage of the story. With weaker students you can split the class into two groups - colouring the story and advancing the story. This technique is particularly useful for practising speaking skills and vocabulary. A story in 140 characters (INT+) Students work individually or in pairs. Ask them to think of a story: it can be a story from your coursebook, from a book they have recently read, etc. Ask them to write the summary of the story in exactly 140 characters. It is a very demanding activity that involves a lot of, deep-processing since it is much more difficult to write a summary than to develop a story. sandwich story creative writing (INT? Dictate to your class the first lines of a story, eg. ‘Do you know why dogs in Papua New Guinea always sniff each other's tails when they meet? Well, youll soon find out. Long ago all the dogs ‘on the island came to the hilitop for a meeting.’ Then ask them to describe all the different kinds of dogs which came to the meeting place. Give the students time to write. Then dictate the next sentence: The meeting place was a huge hall at the top of a hill’ Then ask them to describe the sort of building they imagine and give them a few moments to write their description. Then dictate the next part of the story: Before they went into the great hall ail the dogs had to go and hang their tails up in a special tail-house.’ 3. Rinvolucri,M. (2008) story telling: the language teacher's oldest technique. wis (eachingenaish org.uk D@S Ask the students to explain why the dogs could not enter the great hall with their tails on. Give them time to write the explanation and then continue dictating. ‘Halfway through the meeting the dogs smelled something burning. They rushed for the doors of the great hall and saw smoke billowing out of the tail-house.’ Lastly, ask the students to finish the story in any way they like. ‘The Papua New Guinea ending is that the dogs rushed into the tail house and grabbed any tail they could find in the smoke. From that day to this all dogs have wanted to find their own tail, lost on the day of the great meeting! Group the students in threes and tell them to read their text to their classmates. They read both the dictated parts and the parts they have created. The dictated part is in fully correct, English. Psychologically, they consider the teacher's part to be their own one because of their own creative input. Thus, this technique truly enhances students’ linguistic confidence. Stories are a tremendous source of linguistic input for a language classroom and an excellent tool to practice listening, reading, speaking and writing skills. They can have a huge impact on the relations between a teacher and his/ her students. They can bring invaluable contribution to your lessons so collect them and share, share, share! si References: Green, M. C., & Brock, T. C. (2000). The role of transportation in the persuasiveness of public narratives. Journal of Personality and Social Psychology, 79(5), 701-721 Morgan, J., Rinvolucri, M. (1988) Once Upon a Time... Using stories in the language classroom. CUP = academy ‘an Innovative, highly intensive teacherdevelopmentprogramme, developed by DOS-ELTea and coordinated jointly by Greegorz Spiewak and Marta Rositska 77 hours of tuition, face-to-face and on-line, with some of the world's top teacher trainers. Edition 2 was launched on October 25, 2015. Find out all the details at wirw.e-dos.org and stay tuned for other teacher development ‘opportunities coming up soon! 11. (133) 2015wwwteacherpl Running on empty? Hack your lesson planning! Milada Krajewska ustyna is an amazing trainer and a dear friend of mine - always candid and demanding: If you come to a lesson unprepared, you can’t possibly enjoy teaching. ‘As you stand there, you can°t think of a single excuse or justification for your unpreparedness. That fact will ruin your pleasure, It is true for any profession. You face these people, aware of what you should have accomplished prior to the meeting. Even if you pretend ‘you are not bothered and declare your blind faith in the course book author's masterplan, you end up stricken with a thorny pang of remorse - and, no, you cant delight in helping your students to learn, not fully. | met up with Hania at the airport, the day before | heard those words. She's equally amazing and very dear to me. Unfolded over a cup of aromatic coffee, her story reflected the same point exactly: “You discover the genuine pleasure in teaching only after you discover the joy of lesson planning. I've been there.” she said 11 (133) 2015 eee eeee eee eee Milada Krajewska A teacher, author and trainer, Milada can’t get enough of learning how to teach and teaching others how to learn. Academie Development Manager at ODN Lang in Warsaw, Milada thrives on exploring new teacher training platforms (Facebook's Pomysly na_lekeje - iezyki obce) and formats (TWIST conference & PLANetarium lesson planning workshops) »»> METHODSMETHODS 10 NO CARAMEL 10 VANILLA NO BULLSHIT MeO; 737 We are not talking about heaps of lesson planning paperwork here, nor of elaborate conspectuses or —_hyper-creative _time- consuming teaching solutions. Think: deliberate lesson design - lean in shape, rooted in good activity formats, filled with juicy language and ‘composed with passion. The only way to enjoy teaching is to enjoy planning your lessons. Especially, as it saves, time in the long run, Have you lost your passion for lesson designing somewhere along the way? Hack your lesson planning! Alternatively, end up asa burnout. So what makes us teach lessons stripped of planning? Let us have a sneaky peek at a couple of lesson planning traps. TRAP! NOT QUITE M¥ THEIR TEMPO. In the movie Whiplash, Professor Fletcher would torment his most talented students LANG... with: “Not quite my tempo”. Watch the scene when he conducts a jazz ensemble’s rehearsal and each subtle gesture is intended to bring about silence and make music die. That's his plan. Hey presto. Cana teacher, any teacher, realistically expect to remain in total control of the situation? Isn“t it perfectly ok to plan flexibly and then give in to the lesson flow, depart from the lesson plan and follow in the direction that your students lead you? Isn°t it more human and more effective to fail, pick up the pieces and make the plan work out differently? Students will photo-bomb your lesson plans and you should let them do so. Flexi-planning works. Error-free lesson plans do not exist. Get to grips with that. TRAP! COVER TO COVER Can you think of one great movie, which has either a really bad cold open or a really poor final scene? If so, | owe you. Just as with the best film scenario, you can’t skip the lead-in and wind-down when planning lessons. They make all the difference to your students emotional engagement. Plan to start and finish your lessons with a strong emotional ... thud Both lesson parts - beginnings and endings - are of the utmost importance. The favour will be returned sooner than you expect. TRAP! THE OK PLATEAU. = What turns professionals into experts is the way they override the OK Plateau phase ~ the stage of skill acquisition when you feel so ‘good enough’ and comfy that you switch on the autopilot. The automatic mode means ‘good enoughness forever and youstandingno chance of mastering the skill. Plus your frustration will increase when other teachers keep raising their own bar. If you reach the OK Plateau with your lesson planning, the mere thought of composing a lesson can turn your stomach. 11 (133) 2015www_teacher Fs aut Joshua Foer (author of Moonwalking with Einstein: The Art and Science of Remembering Everything) advocates deliberate practice as a solution. Foer concludes that music and sports champions achieve mastery thanks to the three rules = Remain goal-oriented = Tackle only the most challenging tasks = Expose yourself to feedback on your performance In other words, champions succeed by taking over the steering wheel and forcing the struggle back onto themselves, by deliberately taking on the toughest challenges. TRAP! ALL BY MYSELF Jf you want to go fast; go alone. if you want 0 g0 far, go together. [African proverb] As teachers, we tend to be insecure about our command of English or our teaching style. That makes us steer clear of comparison and feedback, or even friendly collaboration. But why not pair up with a teacher friend and tackle lesson-planning challenges together, bit by bit, in small bites? Trust me, seeing two different plans for the same lesson is a bit of humble pie and a major eye opener. Seeing your teaching through a pair of friendly glasses is nowhere near a threat to your professional existence. On the contrary, it boosts confidence and unblocks new avenues. Some ideas | would never ever have come up with alone, but for the inspiration from fellow teachers. Start small with a friend or reach out for a group, to tap into their ideas and share yours. 11 (133) 2015 Hack your lesson planning! Now! Here is a bunch of take-away solutions to help you reclaim the joy of lesson planning, HACK! TEACHER IN A BOX Imagine each teacher is ... a cornflakes box. Each of us is shelved, on display, each in a different box. The box design reflects our teaching style and favourite techniques. Can you picture your box? Take a marker and design your own packaging as a teacher. Yes, now. Put the features by which your students could easily recognize you and define your teaching style on the box: your favourite activities and fixed elements of your lessons. Here is mine: TORIES « INAGES - SENSES - AssocinTiONS »> 11 METHODSMETHODS 12 Based on what | put on my box, it was easy to work out which activities, lesson formats and teaching techniques are within my lesson- planning comfort-zone. They were my IN-THE BOX lesson plan features; they were easy, cosy and boring, as repetition breeds monotony. And it was just as easy to put my finger on the techniques | tend to avoid - my lesson-planning stretch zone: songs, pronunciation drilis and drama, to name but a few. This was a shocker, in a positive sense Listall the techniques you tend to avoid. Put up the OUTSIDE-THE-BOX list on your desktop, or elsewhere but within your sight. Each time you stumble when prepping a lesson, challenge yourself: reach out for one of the items from your OUTSIDE-THE-BOX list. Smuggle the item into your lesson plan. See how that move stretches your comfort zone and flexes your creative muscles. Enjoy the ride - planning and running that ‘stretch-zone’ lesson HACK! WORK THROUGH CREATIVE BLOCKS Don"t get bogged down easily! If your ideas pool dries up, take advice from people who tackle creative challenges on a daily basis: designers, poets, painters, musicians, authors and innovators. Here are just 5 tips. Bizarre or verging on ridiculous as they might seem, do not shy away. Diversity is the spice of life, Out-of-the-ordinary is the new standard in some contexts. @ Take a walk with a teacher friend. Walk and talk as you brainstorm a lesson idea. Movement boosts creativity. lnspired by Nilofer Merchant*s TED talk: Got a meeting? Take a walk] @ Choose a route to/from work different than usual. As you walk, look around the new surroundings, take photos and seek topics to wrap your next lessons around {Inspired by Daniele Quercia’s TED talk and app: Happy maps] Give serendipity a chance. Combine two random —ideas/objects/locations (e.g. a job and an object; two sentences taken from two random pages of two random books straight off the bookstore shelf; two random Editor's Choice images found on pixabay.com; two songs found on Spotify or YouTube). See how this random combination acts as a trigger for an intriguing warmer, lead-in, language presentation or a revision activity, with a twist. [Inspired by Keri Smith*s book LANG... © ET] projects, which blend the familiar book format with extraordinary creative. challenges] Don’ twrite out your lesson plan - doodle it Use sketchnoting, mindmapping or totally imperfect drawings to create a strong visual version of your lesson plan. See how you ‘helped yourself think’ with drawings and colour. [Inspired by Sunni Brown's TED talk: Doodlers Unite and Mike Rhode*s “The Sketchnote Handbook"} Break the rules. Yep! Photo-bomb your initial lesson plan before your students get to do that in class. Subvert your own ideas, Get out of a rut. Having said that, look at the 5 tips above as a budding lesson idea in its own right. From my experience, students love sharing their experience in overcoming all kinds of obstacles. Their own contributions in class may well give you even more options on the OVERCOME YOUR BLOCKS list. HACK! DIG SOCIAL MEDIA FOR IDEAS What does PLN stand for, apart from the Polish national currency? Personal Learning Networks are groups of educators who choose to meet up online to share their ideas and inspire one another. To start with, try these two: #ELTchat (eltchat.org) offers weekly Twitter chats (Wednesday 12:00 and 21:00 GMT). It is enough to follow the hashtag #£LTchat on Twitter to participateinatopic-based conversation with teachers of English from around the globe. Every Saturday you can propose a topic or vote for the topics suggested by others. An inspiring way to toy with new ideas and bounce your ideas against those of other teachers. 11 (133) 2015www teacher. pl weeelpooee Facebook: Pomysty na lekcje - iezyki top grammar. new talent II that, find your clan and mn planning tribe. In other th Godin helping like a plan and a game changer? To play a wrong note is insignificant; to play without passion is inexcusable. Ludwig Bee 11 (133) 2015 UTC by b ecdicy =e Bites a r Wet ‘ Hamlet Tn crs TTT see ete) X eur) \ reiyseria Lyndsey Turner Set ene hare cy Cera 24 i 30 listopada, 19:00 17 grudnia, 19:00 Pesce rede es Sa @@ COUNCIL SEZON Ploy ee SATOMI 0) PAJACE See eee ec sten ater tis ce DZIADEK DO ORZECHOW Batter cahirn aus RAPSODIA / 2) DWA GOLEBIE RELIANT eT SRN Rae LCL men Moc. om Bo OsRAM @ Pa ep, gl Ere an dalMETHODS Acrostics and anagrams You shall not fail! Just put pen to paper. Aleksandra Szudy-Sojak he end of summer is evident. And so is the beginning of a new school year, JL with its” surprising challenges and wonders, as well as tiresome duties. After all, are theses not two sides of the same coin? Before we submerge into sometimes rainy, yet - hopefully - more often colourful and Sunny autumn days this season, let me share three SUMMER poems, which my junior high school students wrote just before holidays, in order to introduce the topic of my article. seen eee eee Aleksandra Szudy-Sojak Aleksandra teaches primary, secondary and tertiary students, She is interested in trying out new perspectives on teaching practice in order to boost students’ linguistic confidence. She has written many articles for The Teacher, in which she has shared her ideas, observations and experience concerning language teaching, as well as rea: plans. In her free time, Aleksandra enjoys spending time with her family and friends. She loves cooking and riding a bike. She also likes — to her eldest daughter's amusement ~ reading dictionaries. 11 (133) 2015www teacher:pl aes Sunny days Usually are My favourite ones in My memories in which | can Especially appreciate Reminders of the days gone by. (ulka Géralska, second grade) sun Under My Majestic Eye Rises jan jurkiewicz, second grade) Shining water Unique voices Memories like butterflies My heart will stay there Everything to Remember (Kasia Krzemiers, first grade) For the aim of this article is to share a few ideas for creative tasks that might startle your teenage students before they hibernate along the classroom present - practice = produce grammar and vocabulary vicious circle. Poems If you ask your teenage students whether they like poetry, you will probably get a dirty look at first, followed by an array of answers, from that’s rubbish (to put it mildly) through | don’t get it to blushing /'m writing for my drawer ones. Poetry - the art of graceful arrangement of words so that they express beautiful, imaginative, important (or quite the opposite) thoughts, or as Merriam Webster's Encyclopedia of Literature defines it, ‘writing that formulates a concentrated imaginative awareness of experience in language chosen and arranged to create a specific emotional response through its meaning, sound, and rhythm’ (p. 893) - sounds pretty serious There are different types of poetry, each characterized by its own style (and the level of difficulty @). For example, there are sonnets 11 (133) 2015 with their 14line verses, often in iambic pentameters, having one of several conventional rhyme schemes Shakespeare's Shall 1 compare thee to a summer's day each line is 10 syllables tong, with the rhythm of each line in an interesting soft-LOUD-soft-LOUD-soft-LOUD-soft-LOUD- soft-LOUD pattern, but there are still different patterns in Petrarchan and Spenserian sonnets). There is an elegy, that is, a poem. or a song composed especially as a lament for a deceased person; or an ode ~ a lyric poem of some length, usually of a serious or meditative nature and having an elevated style and formal structure. Beyond question, these seem difficult genres to tackle; and, without a shadow of a doubt, they are impossible to write without diligent preparation. Then, there is a slightly more approachable limerick. This is a humorous and often nonsensical verse of five lines, in which the first, second and fifth rhyme with one another, whereas the third and fourth lines are shorter and also rhyme with each other, Edward Lear, the English artist, illustrator, musician, author and poet, is widely known now for his limericks, a form of literary nonsense he popularized, or as the blurb on The Book of Nonsense and Nonsense Songs says, ‘invented’. His limericks are most enjoyable and largely enlightening (especially in terms of place names and fancy adjectives - these are emphasized in the examples below). Just look: There was an Old Person of Gretna, Who rushed down the crater of Etna; When they said, “ts it hot?", He replied, “no, its not!’ That mendacious Old Person of Gretna. There was a Young Lady of Welling, Whose praise all the world was o-telling: She played on a harp, And caught several carp, That accomplished Young Lady of Welling. METHODS 15METHODS 16 There was an Old Person of Spain, Who hated alf trouble and pain; So he sat on a chair, With his feet in the air, That umbrageous Old Person of Spain. Haiku, an unrhymed Japanese form, written in three lines, traditionally with five syllables in the first and third line, and seven syllables in the second one, is another poetic type which appears fairly easy. A haiku captures an idea in a few succinct words. For example, The last winter ieaves Clinging to the black branches Explode into birds (from http://www.creative-writing-now.com/ how-to-write-a-haiku.html) All in all, however, even the shorter forms have some rigid rules, which might put a teenage writer off. Still, there is a type of poetry everyone can write without much preparation. Itis an acrostic. The term derives from acronym, which is a linguistic expression for words that are made up of the initials of other words. For example, NATO translates into the North Atlantic Treaty Organization; scuba comes from self-contained underwater breathing apparatus, whereas laser stands for light amplification by stimulated emission of radiation. Anacrosticis 2 poem in which the firstletters of each line spell outa word or a phrase. The word or the phrase can be a name, a thing, an idea, or whatever you like. Usually, the first letter of each line is CAPITALIZED. This makes it easier to see the word spelled out vertically down the page. Acrostics are easy to write because they don't need to rhyme, so you neither worry about the rhythm of the lines nor the number of syllables. Also, each line can be as long or as short as you want it to be. Moreover, the poems can be about anything. You can use a word (SUMMER if you want to write about the much-loved season), a phrase (for instance THANK YOU as an unconventional expression of gratitude) or even sentences (how about @ persuasive | LIKE GRAMMAR) in your acrostic poems, There are just a few tips you have to follow if you want to create an acrostic with your students. First of all, you have to decide what you want to write about. Then, write the word down vertically and think about words or phrases that best describe your idea and begin with appropriate letters. Then just put pen to paper and complete the rest of the lines to create a poem. In a memorable scene in Lord of the Rings Gandalf stands before the Balrog and says “You shall not pass’. Encouraging teachers might ensure their students with a misquote You shall not fail to write a poem. Just put pen to paper’. By the way, as far as fictitious characters go, any similarities to actual teachers/ students are purely coincidental ©. Anagrams English is as a ‘punnery anguished’, crazy language - these are phrases which Richard Lederer coins and beautifully explains in his books (like Crazy English, which is where the examples below come from). For English is 11 (133) 2015www.teacher: ply oe full of homonyms (words which are spelled the same but have different meanings, for example: bat - in cricket or a flying mammal, or bank {yn ~ a place where money is kept or a slope of land near water), eponyms (nouns which derive from people's names, for instance sandwiches and wellingtons), or metonymies (for example, when we talk about something to refer to a groups of people - crown for a monarchy, skirt for a girl, saxophone for a musician). There are indeed many linguistic idiosyncrasies in English which make ita fascinating language. The paradoxes include ironic words like sweetmeat, which actually is a piece of candy or crystallized fruit; ladybird, which is a beetle; as well as slightly absurd idioms, for instance - putting your best foot forward {as if there were three feet, taking into account using comparative and superlative adjectives) and inconsistent plurals - if one goose and two geese, why not a moose and two meese? And so, anagrams make intriguing linguistic phenomena. An anagram is a word, name or phrase formed by rearranging the letters of another, using each original letter only once. Act can transform into cat, flow into wolf, how ~ who, iced - dice or fast can become fats. Easy? So far, so good. The best anagrams, however, manage to link the new words to the original ones in some way. Fans of ‘the King’ believe that Elvis - lives, a gentleman is believed to be an elegant man. What do the eyes do? They see. Listen - silent. Just look and study these word puns: vacation time — 1am not active the detectives + detect thieves 11 (133) 2015 OFERTA SPECJALNA Roczna prenumerata magazynu The Teacher wraz z zestawem FISZKI dla Anglistéw 129 zt »> METHODS 17METHODS 18 dormitory — dirty room schoolmaster — the classroom the country side —» no city dust here mummy —» my mum astronomers —» no more stars debit card —» bad credit twelve plus one hot water — worth tea oe You can find interesting websites with lists of famous people with anagrams of their names. Just look: ‘TOM MARVOLO RIDDLE —» IM LORD VOLDEMORT WILLIAM SHAKESPEARE —> I'LL MAKE A WISE PHRASE or | AM A WEAKISH SPELLER MADAME CURIE — ME RADIUM ACE DAME AGATHA CHRISTIE — | AM A RIGHT DEATH CASE CLINT EASTWOOD —> OLD WEST ACTION MARGARET THATCHER —+ THAT GREAT CHARMER EMPEROR OCTAVIAN —» CAPTAIN OVER ROME. JENNIFER ANISTON —; FINE IN TORN JEANS. WOODY ALLEN — A LEWD LOONY While some students might enjoy encoding or deciphering them, others might find the task off-putting, utterly incomprehensible, just not their cup of tea. The activity | suggest is the following: give your students anagrams of famous people's names along with some information about the person in question. Explain new words and let them guess what name is hidden. For example: THAT GREAT CHARMER This person was the Prime Minister of the United Kingdom from 1979 to 1990 and the Leader of the Conservative Party from 1975 to 1990, She was the longest-serving British Prime Minister of the 20 century and is the ‘only woman to have held the office. She was called the ‘iron Lady, a nickname that became associated with her uncompromising politics and leadership style. 1AM A RIGHT DEATH CASE This person was a famous English crime novelist, in her works you can find such characters as Hercule Poirot and Jane Marple. She was created a Dame of the British Empire in 1971. https://en.wikipedia.org/wiki/Short_ story writer ME RADIUM ACE This person was a Polish and naturalized- French scientist who conducted pioneering research on radioactivity. She was the first woman to win a Nobel Prize. I'LL MAKE A WISE PHRASE or | AM A WEAKISH SPELLER This person was an English poet, playwright, and actor, widely regarded as the greatest writer in the English language FINE IN TORN JEANS This is an American actress who gained worldwide recognition for portraying Rachel Green on the popular television sitcom Friends. OLD WEST ACTION This is an American actor, film director, producer, famous for his Western roles, which generally made him an enduring cultural icon of masculinity. | hope you will find these ideas for creative activities useful. It goes without saying that teenagers have a great learning potential but are notoriously difficult to motivate. Boredom, brusqueness and discouragement go along self-consciousness and shyness. | believe that creative writingand playing with wordsisa good way to reach beyond the classroom routine in order to stimulate intellectual growth. Just let your students’ imagination run free once in awhile so that the spectre of final exams, which is always somewhere at the back of the mind, is less taunting. References: http://www.creative-writing-now.com/how-to- write-a-haiku.htm! http://literarydevices.net/anagram/ http://www. manythings.org/anagrams/ http://www. paulsquiz.com/miscellaneous- othermenu-230/resources/miscellaneous/ anagrams-of-the-names-offamous-people http://www. poetry4kids.com/blog/lessons/how- to-write-an-acrostic:poem/ Lear, Edwards. The Book of Nonsense and Nonsense Songs. Penguin Books. 1996 Lederer, Richard. 1998. Crazy English. Sawd Books Merriam Webster's Encyclopedia of Literature, 1995 11 (133) 2015wawteachorpl | The dance of the elements A short review on individual differences and their implication for foreign language teaching Magdalena Torzecka “TTve got to keep meeting new people because each conversation raises my level .of energy” - this is how a friend of mine justifies his constant need of making friends or, at least, having short chats. He may consider himself lucky as each of such new encounters makes him feel just right. But | also know people for whom the initial stages of an acquaintance are the source of social stress. They regain their confidence only when a friendly relationship is firmly established. Magdalena Torzecka Magda Torzecka is a graduate of psychology at Cardinal Stefan Wyszytiski University in Warsaw and of italianistics at Warsaw University. However, it is teaching English that became her main profession. Magda is particularly keen on the branch of psycholo which deals with cognition —_processe: especially the process of forming concepts and categorization. She is also a great fan of cinema and long-distance cycling trips. 11 (133) 2015 »> 1920 Overall, each conversation, or each human contact is an area where various factors and forces clash and intermingle. Participants of a conversation need to come to terms with their and their interlocutors’ psycho-emotive features and experiences Teaching is a very special form of interaction - teachers need to deal with their students’ complexity, simultaneously not _ losing (hopefully) sight of their own predispositions and their teaching objectives. In the case of ‘one-to-one tutorship or when there are just a few students in the group, the task may not seem too difficult to handle but, when teaching a dozen students, one may feel like whirling in a dance of elements. People differ in terms of features that may be defined as more genetic or more sociocultural but usually they lie at the nexus of these two spheres. Additionally, each age is a law unto itself, Small children behave differently than teenagers; teenagers’ patterns of thinking, feeling and acting are dissimilar to those of adults. In this article, I'd like to review some very basic concepts from the field of psychology of individual differences. For pragmatic reasons, my main focus will be on adult learners. Writing about children or teenagers force would per implicate discussing all sorts of developmental _ processes that influence the process of learning. However politically incorrect it may sound, people have varying language learning aptitude - some are likely to attain a higher level of language proficiency and in a shorter period of time than others. Realizing this fact may have a relieving effect on teachers’ minds because it removes the burden of the overall responsibility for students’ progress. But... on the other hand, some teachers may happen to judge too much of their students’ language behaviour through the prism of their language ability. Teachers’ prejudices are rarely articulated expressis verbis, often they even fail to float to the surface of consciousness. And yet, they may translate into quite visible effects. Various research illustrates the mechanism of self-realising prophecy by referring to students achieving worse learning results when considered less apt by their teachers. Quick and quiet But now, cutting to the chase, what are these behaviours whose cause can be mistakenly attributed to language learning abilities? The primary function of language is communication. No wonder, then, that it 11 (133) 2015www teacher pl 7 warms the heart of a teacher to see a student answering questions in no time and engaging spontaneously in classroom conversations. But next to these, we could say, active students, there'll be always those a bit shy ones, who need more time to speak up or even, if not questioned by a teacher, would keep silent for the duration of the whole lesson. However, quite surprisingly, it sometimes turns out that it is these quiet students who show a better understanding of how a language works, It seems likely, then, that their reduced willingness to speak is indicative of their cognitive style rather than language aptitude. A cognitive style is a somewhat complex concept but, in broad terms, it can be defined as a way of reacting, thinking and acting in front of a task to be solved. Over the years, a number of cognitive styles have been isolated, described and researched, some of them gaining more recognition than the other. One of the most popular distinctions is between the impulsive cognitive style and the reflective one. Jerome Kagan, an American psychologist, in several studies of his noticed that some children tend to give quick responses, making more mistakes than other children whose answers (in a conversation or a test) are preceded by a moment of reflection. Other studies proved that a preference for one style (impulsive or reflective) over another is stable throughout one's life. Which style is better? They both have their pluses and minuses - people with the impulsive style appear to be better at convergent tasks = where there's only one correct answer or solution; people with the reflective style are better at divergent tasks - with many answers/ solutions potentially correct. In the long process of education, it is the reflective students who seem to be favoured, while the impulsive students are considered naughty or distracted. However, in the case of adult learners who enrol on a language course of their own accord, the situation is quite different. Since reflectivity goes against verbal fluency, it may be that reflective students will need more time to progress in speaking activities, getting underrated by a teacher. The very word “style” implies that we are free (or at least not forced) to choose one way of reacting over another. And yet, most people are consistent in being either more impulsive or more reflective. One of the theories says that impulsiveness is underpinned by anxiety. In 11 (133) 2015 this light, quick answer-giving is just an attempt to ease tension and free oneself of a task. And indeed it is not very difficult to meet students who, as if taking part in a time competition, produce ever new guesses. But...there are also other theories according to which its reflective persons who experience anxiety and their procrastinating is to give them time to reflect and protect them against, e.g, embarrassment. As it is often the case, the truth probably lies midway. Perhaps, some people with impulsive style and some people with reflective style have an anxious disposition but in both groups there'll be also those confidence-driven. Knowledge of the impulsive and reflective cognitive styles has two practical implications for foreign language teachers - first, it prevents them from holding teaching prejudices and, second, it helps them remember that securing friendly, non-jeopardizing atmosphere is vital. The latter should be of no surprise to those familiar with Krashen's low affective filter hypothesis (low affective filter - low anxiety, normal or high self-esteem and high motivation - facilitate language acquisition) However, the issue of anxiety needs to be approached with due carefulness - for by no means should keeping anxiety level low translate into making lessons slow and quiet. yea eee ae e more reflective, it is a good idea cue Teme ae Of course, the proced More zest, please Marvin Zukerman, an American psychologist, in his popular theory about seeking sensations claims that people need different amount of stimulation, It happens so because, according to Zuckerman, people differ in what they consider the optimum level of their nervous systems’ arousal. People who have low arousal level need more stimulation while for those »> a TT 215 w 22 whose arousal level is high, considerably less stimulation is needed. Seeking sensations assumes various forms - it can range from engaging in risky physical activities to ‘opening oneself to spiritual, emotional and social experiences, like admiring art, reading literature and running conversations. A person who is seeking some sensation and is not able to get any, may easily fall prey to boredom and dejection, (One might argue that, after all, foreign language classes are not about seeking sensation but about learning. But motivation is the first and primary key to progressing in foreign language studies, a feeling of interest being one of its very basic components. And..in the case of adult learners, signing up for an after-job language course indeed may often have something of a stimulating activity where acquiring a language is not a goal by itself... Seeking sensations has much in common with extroversion. The word “extrovert” has long ago become a popular personality adjective but not everyone knows that the concept of “extroversion” has for decades been the subject of thorough psychological studies. Hans Eysenck claimed that it is the axis extroversion-introversion that forms the base of human personality, or, more correctly, temperament. People who are extroverts may be defined as active, assertive, sociable and carefree while introverts would be just their opposite - quiet thinkers, occupied with their inner life rather than lively social interactions. Outside of psychological laboratories, it is not easy to come across such distinct types but it can't be denied that some people derive more pleasure from social stimulation and some seem happier if given more inner space. mena) ea een ee eR ean ann of uncertainty and distance. group is le ie aro em eas orem mu ce activities. When we a students’ ¢ ee eecee ma ra eee ean eta eee) eae yeaa Single-handedly or together? In any case, conducting a lesson is always a matter of striking the right balance. Students should be provided with activities both raising their energy level and those allowing unperturbed reflective thinking. Teachers need to take into consideration their students’ bio- psychological preferences and predispositions and things as obvious as their gender. And here we may turn to another interesting concept, Herman Witkin, an American cognitive psychologist, is the author of field-dependency theory which seeks to explain some intricacies of perception. Some people when making evaluations of things, other people or different phenomena, let themselves be guided by + 11 (133) 2015www teacher pl | eu anumber of external cues, They are considered to be field-dependent. People who take as a reference point what is within their own selves (a sort of ego-centrism) are thought to be field-independent. As Witkin put it, field dependency is a result of social and cultural training. Women are more field-dependent than men, as from their very childhood they are taught to be emphatic and sensitive to other people's presence. This simple fact is clearly visible during lessons - while males get much fun from competitive exercises, females feel a bit embarrassed and end up helping each other (which is completely against the rules in this type of games...). Competitive activities seem to work slightly better if competing groups are males to females or mixed group to mixed group but do not seem very successful if these are female to female groups. Bridges over differences Irrespective of their genetic and sociocultural background, students, sooner or later, develop their preferable learning style. This fact surely poses one more teaching challenge and may cause a feeling of dizziness if one takes into consideration the myriad of different classifications. We could mention categorizations based on learning modalities (visual, auditory, kinaesthetic), ways of processing information or students’ cognitive approaches but... such a review should be a subject of a more extensive text. On the other hand, the idea of learning styles is not free of controversy. Some researchers claim that it has never been proved that adjusting educational methods to students’ individual learning styles is really effective. But then, what surely contributes to 11 (133) 2015 teaching efficacy is looking for and, hopefully, finding "bridges" over individual differences. David Kolb in his experiential theory dedicated much attention to how different learners acquire knowledge but it is the second part of his theory that seems particularly helpful to all those who wish to learn or teach others. Kolb assumed that the process of acquiring new knowledge should necessarily pass through four stages - the stage of concrete experience, reflection over that experience, formulation of some theory concerning the experience and performing activities that were the object of the three Previous stages. Let's have an example. If we want to teach our students the structure of a letter of complaint, first we might provide them with original samples of such letters (experience), then we would ask them to comment freely on the form of the letters they have just read (reflection), then we would try to formulate together some rules of writing letters of complaint (theory) and in the end we would ask them to write a letter on their own (performance). ‘Aswe can see, neither the model as a whole nor its four stages are particularly innovative (the cycle starting with “experience” stage is similar to PPP lesson and if we start with the stage of performance it will have something of a task- based plan) but its usefulness is in constituting a clear and rememberable pattern to be used in each lesson on any subject. Moreover, Kolb’s learning cycle is consistent with what we know about memory - bits of information get transferred from short-term memory to long-term memory thanks to repetition and elaboration. In other words, if a given linguistic item passes through as many as four stages, the chances that it will get remembered are much higher than if it passed only through ‘two, Relating to universal properties of human memory, Kolb’s cycle makes a sort of linking tool, employable with different types of temperament and different cognitive styles. So, in conclusion, coping with multitude of learning styles and temperaments may result stimulating rather than overwhelming if only we remember to let our students have a real feel of what we want them to learn, if we give them a moment to reflect, if we provide them with an understandable explanation and create for them a plausible opportunity for testing newly-learned bits. And all this in the atmosphere of friendly interaction. EET: 2324 Emotions in teaching and learning English innovative teaching Angelika Skotnicka (Clince the topic of this paper revolves |SS)around innovative teaching, | would like No give a definition of what innovation is. According to Steve Jobs, “Innovation does not equate to starting from scratch, There are countless entrepreneurs, legendary ones even, who looked at that crowded marketplace and decided to recreate an ordinary business. Tom Monaghan (Domino's) or Frank Carney (Pizza 4ut) did not invent pizza. Ray Kroc (McDonald's) didn't sell the first fast-food hamburger. Leslie THE LIMITED Beene eeeee eee Angelika Skotnicka My name is Angelika Skotnicka. I am a graduate of Cracow University of Education and Cracow University of Economies. I have been teaching English for 8 years, Last year I decided to establish my own language school, named Wallstreet Your English where we teach on the basis of my own method: I HEAR + I UNDERSTAND ~ I SPEAK. Teaching English is my passion and I cannot imagine iy life without it 11 (133) 2015www.teacher.pl, Wexner (The Limited) was hardly the first person to sell clothes to young women (his immigrant parents, in fact, operated a women's clothing store). There were plenty of places to buy coffee before Howard Schultz (Starbucks) came along. Entrepreneurs and small business owners usually start the same way: with one small operation.” Just like in business environment, innovation in teaching also does not apply to creating new phenomena but rather to using the ones that already exist and improving them. This is how \ approach teaching as a tutor and learning as a student because, when learning languages, you should never say that your knowledge is complete. As we all probably know, language is a living entity, it changes through time and differs in many areas of our lives; yet innovative teachers know that they learn at the same time they teach their students. In my opinion, many schools and teachers neglect the power of listening and, especially in Poland, teaching English as a second language but using it in class. Itis very important to give learners the tools that would help them to “swim in the ocean of a language” since they 1 1 (133) 2015 will never possess the whole lexicon or master every grammatical intricacy. In my classroom, listening and_ speaking English are the most important components because | believe that before any act of speaking and, later on, talking can take place, one needs*to hear first, then understand comes and, finally, learners should be able to reply to the message. In addition to this, it is very important to incite curiosity among your learners so this is why | start with big questions and then smoothly move to the more detailed ones. This approach, at the end of the day enables students to see the big picture of every topic we take into consideration. | have been teaching for 7 years, | am now 25, but | listen to my students and alter some things just to their preferences. When welisten to songs, lusually ask them to draw a picture with associations and connotations that come to their minds while the song is being played. | noticed that it is a very good warm-up activity for any kind of discussion and works with all groups of students, because it turned out that it is easier for learners to speak when they do know what they want to say about a specific ssue and, when drawing, they constantly 25ELT 26 think critically on the given subject. | also noticed that when emotions are applied in teaching and learning, students make fewer grammatical mistakes while speaking. | will bring about some statements that I wrote down in my class, but it is important that | have not corrected the utterances. “The song was very happy and | imagined a scene where people are very happy, they are dancing and playing different instruments. There is also an angel, because when | heard the song | imagined that something was flying up in the sky. What is more, | drew a couple of people who love each other and the scene was at night so that’s why there is the moon. A horse... Hmm, | don't know why but | saw a horse that ran very fast.” la 4 ae cas <4 a Ty d9 “a Pola Pawlikowska, 15 years old, “They were singing about open door, time, a baby and the sky. | don't know the movie from which this song is. The baby is happy, because the song is happy and the open door, it is something like Narnia, other world.” eee, “oll aD! Magdalena Mikina, 15 years old. ral When we implement emotions into our teaching and learning, it becomes easier to speak and use the language because our learners know what they want to say. It is less difficult for them to put their thoughts into words, phrases and sentences when we want to find out about their real opinions on a given topic. During this lesson they were talking about the best time in their lives, but | also did this exercise during my Business English classes on the topic of Women in Business. | chose Beyoncé’s song “Run the World” and right from the beginning of the lesson all students knew what they wanted to tell me. They make fewer mistakes when they are asked to explain their own thoughts and when the topic of the lesson becomes close to their hearts. One more thing that | always do with my students, regardless of their age, is playing games; however, | choose different games for different proficiency levels and age of my students but | always bear in mind that my lesson must be serious - fun, not too serious and not too fun and | know that it works best. They enjoy learning and | enjoy being there with them and monitoring their progress which for me is amazing. To sum up, in order to be an innovative teacher, one does not need to make up any new curriculum but being an innovative teacher means listening to your students and reacting to their preferences. One needs to find out what works for them best and implement it in their teaching strategies. Education is two-dimensional - only by letting your students teach you something new, can you teach them any subject or language. There are no people that cannot be taught languages, they need to fall in love with a language, have a tool and the basis, so that they can discover more on their own, Last but not least, your students need complete immersion in a given subject, so it is not enough to teach them only one aspect of English, they need all of it, right from the start. 11 (133) 2015www. teacher.pl i ELT Using literary passages in teaching English culture at intermediate level Karolina Hadzicka s Aleksander Solzhenitsyn (1970: 14) A indicates, “Literature transmits incontro- \vertible condensed experience... from generation to generation. In this way literature becomes the living memory of a nation”. In other words, literature possesses the great power of transmitting values and thoughts of previous generations. Thus, it is an excellent source of cultural knowledge since it presents traditions, customs and, in general, the way of people life in a given epoch. Consequently, it shows how important teaching culture is in FL classrooms. The best evidence is the fact that currently culture, alongside listening, speaking, reading and writing, is considered to be the fifth language skill. However, as for literature, there is still little place in the curriculum for using literary passages during English lessons, This view does not seem to be a proper one. There is a visible relationship between above mentioned culture and literature since literary Karolina Hadzicke works present the best reflection of reality I'ma student and a teacher in language schools, currently Tm doing my master degree in Spanish and English Philology at the University of Lédi, 1 like travelling widely, especially in order to get to know other cultures. I find this aspect asa really significant in the process of teaching and I always try to incorporate cultural elements into my lessons. In my free nerican literaty time, Tove reading Latin 4 11 (133) 2015 »> 2728 Culture The reasons for teaching culture: Cl The language is a key which unlocks the door to the culture. There is an inseparable connection between language and culture; since the language reflects the spirit of a particular nation, language, culture and thought should be considered as one, whole part and they cannot operate independently. © It is clear that culture plays an essential role in the FL classroom since language expresses culture. Consequently, it is logical that FL learning and teaching is inevitably associated with expanding cultural knowledge. © Acquiring cultural skills and knowledge is necessary for a language learner to be fully competent (cultural awareness). it means that, by learning about culture, students become more aware both of their own and the target language culture, they can realize that our world is not actually one "global village”. © They are able to make comparisons between two cultures and, in this way, they are more conscious of cultural similarities and differences. It restricts overgeneralizations and negative stereotypes. Students become more tolerant’ and it favours “empathy towards other society” (Stern 1992: 212) and cultural sensitivity. a) 5 Tomalin and Stempleski imply that teaching culture helps students to behave appropriately in daily situations in English- speaking countries within unfamiliar communities. Introducing cultural elements during lessons influences positively the development of learners’ motivation and positive attitudes towards the target language. This is a perfect way to integrate several language skills. What is more, fostering students’ interest in culture can not only motivate them to learn but also develop their communicative competence. Why do teachers forget about teaching culture elements? Improperly organized course books in which whole material is divided into several chapters and the isolated sections with pieces of cultural information are placed only at the end of the unit, looking. like something optional Gi Itisteacherswho interfere with the process of culture teaching. Most of them still donot consider this element as an essential part of the curriculum. They tend to focus on vocabulary or grammar aspects and they do not realize that, without incorporating culture on a regular basis, the language teaching process is incomplete. © Valdes (1990) notes that there are so few good methods and techniques to teach culture in the classroom. He finds introducing cultural elements difficult as teachers should not teach culture itself but they ought to make "a combination of culture with other language aspects’ (1990: 121) which is obviously quite time- consuming to prepare. Literature in teaching foreign language - benefits As it was said, literature may be a great teaching resource, owing to the fact that it is perfectly authentic material. That is why teaching culture components during language lessons should not be done without incorporating literary passages. The use of literature in FL classrooms traces back to the Grammar Translation Method, so this is the best evidence that literature as teaching material never went away and has always been a large part of EFL. The contact with literature develops creativity and critical thinking, helps students to absorb 11 (133) 2015www teacher pl By dt knowledge from various fields, sensitizes them tothe beauty ofllterary language, as well as provides them with sensory and emotional experiences. It can be said that using literature leads to the personal enrichment of each learner. Students appreciate this kind of lesson because it gives them a chance to know different cultures and provides them with the insight into the real world which they discuss. Moreover, literature releases intense emotions, which lets students reconsider and understand more issues or problems from their personal life. Gillian Lazar (1993:3) remarks that “literature provides wonderful source material for eliciting strong emotional responses from our students, Using literature in the classroom is a fruitful way of involving the learners as a whole person and provides excellent opportunities for the learners to express their personal opinions, reactions and feelings” Another function of using literary passages is broadening lexical knowledge. Literature is abundant and highly diverse body of written material; hence, it allows learners to observe how language is used in various contexts and, consequently, enables them to develop and enrich their writing skills. Literary extracts can provide students with real language as those texts are not designed intentionally for 11 (133) 2015 foreign learners, As a result, they are exposed to “complex themes and fresh, unexpected uses of language” (Lazar 2003:18). In addition, literary passages may be widely used in reading comprehension practice. Frequently, they are written in a figurative way which “develops the students’ ability to make inferences from linguistic clues, and to deduce meaning from context” (Collie & Slater 1987:5). This forces learners to read carefully both for a gist and for detail Moreover, teachers may use literature to arouse motivation in students and make them more involved in lessons. One of the reasons for that is a variety of interpretations. Learners can decode ambiguous language in order to find their own interpretation. Frequently, students have got entirely different opinions and ideas about the text, which in turn, provokes interaction between them in the target language and “accelerates the students’ acquisition of language" (Lazar 2003:20). Literature gives students insight into multiple themes and unusual uses of language and that is why literary works may be extremely engaging for students. Apart from interpreting figurative language, they can also unravel plot and identify themselves with their favourite characters, »> ELT 29ELT 30 Aspects taken into account in choosing literary texts The most crucial factor analyzed by the majority of researchers is students’ level of proficiency. Literary extracts should be carefully adjusted to students’ competence so as not to be impenetrable for them. Texts which contain a lot of new vocabulary and grammar structures may discouragelearners since they are not able to understand the word meaning from the context and they are forced to look up words too frequently. Thus, for instance, short stories with repetitive language are the best option for young learners. According to Brown (2004 par. 5), if 75 %- 80% of words are new for students, it may cause the feeling of confusion and lack of confidence. So, providing students with too complex and long texts would be a contradiction to Collie and Slater's (1987:3) conclusion because, according to them, teachers use literature in order to make activities more involving for learners. The second factor which should not be omitted and which is directly associated with the above-mentioned Collie and Slater's words is learners’ interest. Obviously, it is nearly impossible to take into consideration interest of each particular student; however, it is possible to choose literary fragments which engage the majority of readers cognitively and affectively. Boring and stodgy texts are the best way to kill the joy of reading. To prevent this situation, at first teachers ought to use stories which are well- known in all countries and cultures or find a translation of the stories traditional in students’ culture stories and, after that, start introducing texts from English literature. Additionally, the selected extracts should be compelling not only for students but also for teachers since “it will be difficult to convince students to be enthusiastic about a story” they do not like (Brown 2004 par. 7). Apart from this, Lazar (1993: 47) suggests other criteria. The first one is the age of students which influences their intellectual maturity and emotional understanding. Another one is the type of course (e, English for Academic Purposes, English for Business, General English, etc.) and intensity (the number of hours per week). Those aspects guide curriculum and decide about the possibility of incorporating literature into lessons, ET Since | am really keen on this topic, having worked with one group of students at the intermediate level | tried to conduct an experiment. | wanted to observe the students’ attitude to the lessons with the usage of literary passages. All lessons were planned carefully and they were divided according to Lazar's (1993: 66) suggestions into three phases: Cl Pre- reading activities- discussing photos linked with the texts, discussion about historical background and the author, personal reactions to the theme of the text. While- reading activities- guessing the meaning of the given words, interpreting figurative meanings, writing down unknown vocabulary. © Post- reading activities- discussion aboutthetexts (for instanceinthe form of debate), role-play stimulation, answering questions and giving personal reactions to the texts, writing tasks. During each lesson, | made a systematic observation of the participants, paying attention to their reactions to the activities with literary texts. The gathered results indicate that the students like getting to know some cultural aspects {especially something connected with tradition, customs, literature and films) but unfortunately they haven't got lots of opportunities to familiarise with them (again, it shows that it is necessary to change it!). As for literature and its genres, the passages from novels or short stories are the most engaging for students. That is why itis recommendable to choose some fragments from well- known books for students. Apart from that, the students do not enjoy long fragments with unknown vocabulary, even if they can use dictionaries to check its meaning. The drama is also very enjoyable for the learners, especially because of the reading text with a role ision or preparing a performance in English on the base of a given dialogue. For this reason, | present now one of the exemplary lesson play (based on the popular drama “Romeo and Juliet”) which was considered by my students as the best one. 11 (133) 2015www teacher pl 19 Lesson Plan - 90 min Lo Level: Intermediate s Topic: Romeo and Juliet Aims and objectives: 1D Toread with comprehension O Tointerpret the text Dl Touse advanced vocabulary connected with relationships between people rere ere ee T divides SS into two groups. Ttells them that they are the | citizens of a given town. They should guess what town it is. 1, Warm-up Whole class ‘S/L If they have got difficulties, T 10° gives more clues. Finally, SS get to know that they are in Verona and they are going to talk about Romeo and juliet. — T | See t j | Tinforms SS that the reason | why these two families tiveina disagreement is exactly unknown. _ encourages $S to think what "could cause their quarrel. They | | Guessing the | 2. reason of the Pair work s quarrel 15° Eo 3, Exercise 1 from the _ Individual WR SS do exercise 1 from the worksheet work worksheet. SS get the list of words connected | Pisin, with relationships. They discuss | Whole class, them with the teacher. Then they Exercise 2 from the ‘+ wR worksheet | Individual do exercise 2 from the worksheet. 20° work They should answer questions using vocabulary from the list. 10° | 4. T distributes the fragment from the drama “Romeo & Juliet”. ‘Two SS perform as Romeo and | Juliet, The rest of the class listen to them. Then they answer questions: 1. Whats the main problem: why Juliet can't be with Romeo ? 2. “I never will be Romeo” - how do you understand it ? 3, What is your definition of love? mi write it down. | ‘Two groups have a debate, topic: 6 Debate Twosroups S$ Foveat hist sight Reading the text- 5. “Romeo &Juliet’- Whole class. PUL Act 2, Scene 2 A W-writing, L- listening, S- speaking, R- reading, SS- students, T- teacher 11 (133) 2015 »> 315 wu 32 MATERIALS FOR THE LESSON: 1. The fragment of the text ROMEO (to himself) She speaks. Oh, speak again, bright angel. You are as glorious as an angel tonight. You shine above me, like a winged messenger from heaven who makes mortal men fall on their backs to look up at the sky, watching the angel walking on the clouds and sailing on the air JULIET (not knowing ROMEO hears her) Oh, Romeo, Romeo, why do you have to be Romeo? Forget about your father and change your name. Or else, if you won't change your name, just swear you love me and [ll stop being a Capulet. ROMEO (to himself) Should | listen for more, or should | speak now? eT} JULIET (still not knowing ROMEO hears her) It's only your name that’s my enemy. You'd stili be yourself even if you stopped being @ Montague. What's a Montague anyway? It isn't a hand, a foot, an arm, a face, or any other part of a man. Oh, be some other name! What does a name mean? The thing we call a rose would smell just as sweet if we called it by any other name. Romeo would be just as perfect even if he wasn't called Romeo. Romeo, lose your name. Trade in your name-which really has nothing to do with you-and take all of me in exchange. ROMEO (to JULIET) 1 trust your words. Just. call me your love, and | will take a new name. From now on | will never be Romeo again. 2, The list of the vocabulary VOCABULARY (Chat up - starting a relationship To chat somebody up - podrywa¢ kogos To flirt with somebody - flirtowa¢ z kims Ablind date - randka w ciemno Loved up - being in a relationship To be smitten with somebody - Byé kims oczarowanym To fali in love with somebody - Zakochaé sie w kims Itwas love at first sight - To byta mitosé ‘od pierwszego wejrzenia To be madly in love - by€ szalericzo zakochanym Break up - finishing a relationship To play away from home - Mieé romans To break up with somebody - Zerwa¢ zkims To split up - rozejée sie To dump somebody - rzucié kogos 11 (133) 2015www.teacher.pl Pe Love: Adjectives: pure, deep, true, genuine, eternal, romantic, platonic, physical How can we call the person who we love? darling sweetheart love pet — babe/baby 3. The worksheet WORKSHEET zs Aronerte queens: ml ‘Wt do you sci withthe word ove"? Wi. 3. Win do people bare if iy arin ve? 2. Does the werd “ov” meta thse wha in te pas? References: Solzhenitsyn, |. Aleksandr (1972) The Nobel Lecture on Literature, New York: HarperCollins. Tomalin, B.; Sternpleski, S. (1993) Cultural Awareness, Oxford: Oxford University Press. Valdes, J. (1986) Culture Bound: Bridging the Cultural Gap in Language Teaching. Cambridge: Cambridge University Press. Valdes, J. (1986) Rebeca Valette. The culture test. Culture Bound: Bridging the Cultural Gap in Language Teaching. Cambridge: Cambridge University Press. Lazar, G. (1993) Literature and Language Teaching. A Guide for Teachers and Trainers. Cambridge: Cambridge University Press. Collie, J; Slater, S. (1987) Literature in the Language Classroom. Cambridge: Cambridge University Press. Brown, E. (2004) Using children’ literature to teach ESL to young learners. The Internet TESL Journal 10/2. In; http://iteslj.org/Techniques/Brown-ChildrensLit.html ED 02/2014. 11 (133) 2015 33 ELTEXAMS 34 ET Assessing Learners’ Speaking Skills Andrzej Raczkowski lhinking about your experience of teaching speaking, you have probably noticed a variety of learners’ attitudes to speaking English. Do all students really enjoy doing speaking tasks in class? In our classes, there are learners who tend to dominate speaking activities and those who are shy and speak only when necessary. However, at some point in their lives, they may all need to pass a formal exam including a speaking test. Consequently, we need to encourage our learners to think about their strengths and needs in terms of speaking and start preparing them as early as possible. In this article, we will mostly focus on direct speaking tests that involve candidates’ face- to-face interaction with interlocutors and are scored by assessors using pre-defined assessment criteria, seeeeeeeeeeee Andrzej Raczkowski An experienced teacher and educational consultant, Andrzej Raczkowski has taken part in a number of teacher training events in the Baltics, Poland, Germany, Austria Switzerland, Kazakhstan and Saudi Arabia. Havingobtained an MA in Linguistics, a CELTA and a Professional Diploma in Management, he currently manages his own training company. His professional interests include assessment in ELT, educational management, effective study skills, and second language acquisition. CAMBRIDGE ENGLISH 11 (133) 2015 ‘anguage Assessmentwww teacher: pl ee Practical considerations When it comes to organising speaking tests, we first need to think about the arrangements. If we decide to run our own tests, the test format and tasks types may depend on the number of candidates to be tested. If, however, we choose to use external examinations with speaking tests, the school's facilities must comply with formal requirements set by the examination board, otherwise learners will have to do the exam at a designated test centre. Another thing that needs to be given careful consideration is whether learners are going to be tested individually, in pairs or in groups. For example, the Cambridge English: First Speaking test is either paired (involving two test takers) or group (involving three test takers at the end of a testing session if the total number of candidates on a given day is odd). Paired or group tests allow us to access different types of interaction in more ways than individual tests. Other important practical considerations arrangements include: = Timing and costs = Reducing subjectivity in marking by swapping teachers and having both an interlocutor and an assessor awarding marks based on assessment scales = Training of examiners = Putting learners with similar levels of language proficiency in a pair or group. Testing focus What does the process of speaking involve? Before we say something, we need to get an idea. Then our brain finds the linguistic v 11 (133) 2015 means (grammar and vocabulary) to put the idea into words. We then have to articulate the words clearly (pronounce them). As we speak, we control what we say to make sure our ideas are accurate, relevant and organised and that the message has been clearly understood. At the same time, we plan what we are going to say next, i.e, generate new ideas based on other people's responses, and react to what our interlocutors say (interact), When we test learners’ speaking performance, we also award marks by applying performance descriptors for each target feature of the language, such as grammar and vocabulary, discourse management, pronunciation and interactive communication Learners have to deal with all these skills both in their first language and a foreign language. Surprisingly, when they are being assessed, learners tend to simplify and ‘flatten’ their language to minimise the risk of error and focus on what they want to say instead. But learning-oriented speaking tests will give credit to candidates who attempt more complex language and get their message across, even if this means they make a few mistakes. Here are a few general strategies that will help your learners stretch and develop their speaking and interactive skills in preparation for speaking tests. = Using only simple structures and vocabulary to avoid making mistakes is not the best idea, especially at higher levels. Make an attempt to use some complex grammatical forms and a range of appropriate vocabulary, even though } >» EXAMSEXAMS 36 you are not completely sure you can get them right. = Correct yourself occasionally if you realise you have made a mistake and want to show that you can actually use the structures or vocabulary correctly. But don't overdo this as it can interfere with the interaction! «= Paraphrase if you do not know the exact word. Keeping silent only because you cannot express your idea exactly in the same words as in your first language minimises your chances to be understood and awarded better marks. = Avoid flat intonation. Making your voice rise and fall to show your attitude is a much better strategy. = Even if it is not your turn to speak yet, listen carefully to what the others say, because you may need to contribute your own ideas at some point. If you are discussing something in a pair or group, make sure you encourage the other student(s) to say what they think Everyone needs an opportunity to show what they can do. Part 2mm (mies pop 8) Good mominglakernaonievening, My name i ‘And your names are? ‘can have your mack shee, please? Thank you 4+ Where are you fom, (Conidae 4? 1+ And you, (Candidate 3)? Ft we'd tke to know someting about you. How do you ike to spend your evenings? Tellus about a tim you relly tke 4+ What did you do on your last day? (What ae you going to do?) Salat one or more uestons rom any othe following caegorts, as opproprine ‘Do you prefer to spend time on your own of with other peopl | + Doyou tke cooking? .. (What sert of things do you cook?) + Doyou normally eslebrate special occasions with riends or family? ... (Why?) + Tellus about a festival or celebration in (candidate's country). + Are you going todo anything special this weekend? .. (Whore are you going to 90?) Testing principles and formats We need a sound basis for everything we do in test design. Tests should be valid (measure what they are designed to measure), reliable (produce stable and consistent results) and fair (each candidate musthave equal opportunities). Additionally, well-written speaking tasks should reflect real life and provide a basis for ‘motivating classroom activities. During standard speaking tests, interlocutors strictly follow a written script (usually called ‘a frome’) that often has back-up questions for weaker candidates who cannot understand a question. There are also follow-up questions such as ‘Why/Why not?'so that the interlocutor can expand a discussion if they feel a candidate has not developed a thought sufficiently or needs an opportunity to produce more language to be assessed. Using a script also increases the reliability of the test because the interlocutor uses the same words, timing, etc, for all candidates. The image below (Fig. 1) shows a typical frame used by an interlocutor in the Cambridge English: First Speaking test: end th my calloague (What do you do?) (Why) Fig. 1 A fragment of the interlocutor's frame for the Cambridge English: First Speaking test CAMBRIDGE ENGLISH Language Assessment 11 (133) 2015www.teacher.ol age Are you thinking of giving a speaking test for a group of learners you teach? You could either create an original test or choose one and adapt it for your needs. Alternatively, you can download a handbook and use a sample speaking test for any Cambridge English exam at http://wow.cambridgeenglish.org/teaching- english/resources-for-teachers. Ifyou would like to design your own valid and reliable speaking test, think about these questions’: = How old are your learners? = ~Whatis their level? = What would you like to assess about their speaking skills? = How many candidates will be tested at atime? = Will it be possible to have two teachers, one acting as an assessor and the other teacher acting as an interlocutor? = How long will the speaking test be? = What tasks will you use to elicit the kind of language or skills that you want to test? = What assessment criteria will you use? (Either focus on one or more specific criteria or the full range.) = Are you going to give a score? If so, how will this be calculated? = How are you going to give feedback on the speaking test? 1 Adopted from the Understanding Assessment course on Assessment criteria When we consider what to test and how to test it, we also need to establish assessment criteria for marking and a rating scale. There are two basic categories of assessment: global and analytic. A global approach gives a mark for candidates’ performance as a whole. In an analytic approach, assessors give a mark for each target feature of the language Below are examples of global and analytical assessment scales (Fig. 2 and 3) that show the assessment criteria used in Cambridge English: First speaking tests*. 2 Source: Cambridge English: First Handbook for Teachers www.cambridgeenglishteacher.org (2015), www.cambridgeenglish.ora/first B2 Global Achievement 5 Handles communication ona range fairs, with ey ite station. Uses accurate and appropriate ings resources to exes ideas ard rode exended discourse hati erry cere. 7 Perrance shares atures of Bands Sand 5 Hanes communication on fair topics despite somehestaton Organs extended discourse ut ocasonaly prods uiteances tht ack cchesence nd some nacraces and rapport sage cc. 2 Perfomance sae festesoféinds land 1 Harescommuniaton everyday uations espe estan. Corsructsngeutranes butt able tows complex ngage excep Inwel-eheased traces. Peomance below Band, Fig. 2 The Global Achievement scale for Cambridge English: First interlocutors 11 (133) 2015 »> EXAMS 37|| pubg mojag aouDuUofiag ‘uoddns pue ‘Ajayeudordde spuodsai pue sayenyuy ‘S8D1nap anisayo> 21Seq Ses7) ‘uonjjadas awios ayidsep ‘sjana| piom | "WUeKajo4 AySoW axe suoANG|UO> pue aouerayin yjog ye sainjeay e2!Boouoyd Jo joxju09 awios “voneysay ayidsep ‘saseiyd YoYs puofag papuayxe aye ypiym sasuodsas saonporg ssuoqenys Kepkrana ynoge Buryje} way Arejngeson ayeudosdde yo aBued e sas, SSuuio} jeonewuuel® ajduuis J0 J01]uU09 Jo aa.Bap poo8 e smoys “woddns apy Aran yy ausoayno ue spiemoy sayenoBau pue uo >e3 "€ Pup | Spuog Jo sainyoay sexoys e2uowojiag ‘Aue payeinoue | ‘Ajexaua8 aze spunos jenpinipuy paved Ajayesnaoe Ayerauad ‘5 Ssay}s p1om pue a2Ua}Ua5 's21d0} se}UWey Jo aBued e UO sAaiA aBueyoxe pue ani 0} Auejnqes0n ayeudosdde jo aBues e sasr, ‘Suio} jeajewuess ay} sdojanap pue suieyuiew, ‘ayeudosdde pue quenajas axe suonnqujuo>) xajdutos ewos sjdwaye pue ‘Ajayeudordde ‘A\jexua8 S| uoHeUCWU] | -yoneyisay awos ay!dsap a8enSue} ‘suoj jeonewuuesd ajduuis jo spuodsas pue sayenu} “aiqiByjayuls| | jo-sey>yeys papuayxesaonpo.g | _jonuoD Jo vaiBap poke smoys °G PUD E Spung Jo sainqva| saioys a2uoWUO}iag i. ‘Siay2UI asNODSIp pue ‘auioayno ue spiemoy ‘saoinap anisayoo Jo aBuel e sas) soidoy sayejoBau pue uon2es9,ul “Aue seap! | _seyusey jo aes apm e uo swatn ay) Sdojanap pue sureyuieyy | PAREINDRIE 21 SPUNOS [EMPINIPUI | Jo yonesiueio seap> es! a1ayy | eBueYDKe pue aniB oy Auejnqeron siayeods faujo pazeid Ayes | pue juenajas ase suonnqujuo) ayeudosdde jo aBues esasp, Jo @S04} 0} suoHnqujuds zs Sarl os RES UaIeS ‘Suo} eajewUuess x9jdus09 yeudosdde ue sayeniul ‘ayeudosdde si uoneuoyuy apn Aran um aBendue saupyaiis papuayxa saanpoig ‘aulos pue ajduuis jo aBued e jo Jouo> Jo aaiBap poo’ e smoys Fig. 3 The Analytical Scale for Cambridge English: First assessors 11 (133) 2015 CAMBRIDGE ENGLISH Language Assessment 38www.teacher.pl rer seeee Candidates are assessed individually and not in relation to each other. The interlocutor awards a mark from 0 to 5 for the performance as a whole, using the global achievement scale, whereas the assessor uses the analytical assessment scales to award marks from 0 to S for four individual criteria = Grammar and Vocabulary Discourse Management = Pronunciation Interactive Communication. Click on this link to watch the test https://www. ‘youtube.com/watch?v=nip8FVs8-f0 or find the Cambridge English: First Speaking video on the Cambridge English TV channel of YouTube. The four activities use this recording to practise using the Analytical Assessment Scales. Activity 1 PART 1 Interview This part tests the candidates’ ability to use social and interactional language. This short 11 (133) 2015 social exchange is a natural way to begin interaction, and it gives candidates time to settle before dealing with the more specific tasks in Parts 2, 3 and 4. Make a copy of the Analytical Scale for Cambridge English: Firs (ig. 3 above). With a partner, study the Grammar and Vocabulary column ofthetable.Asyoulook through the scales, highlight words which make one band different from another. 3) Watch the Cambridge English: First Speaking video (the first 3% minutes). Refer to the scale as you observe students carrying out a Cambridge English: First speaking task. © Note down examples of performance in terms of the listed criteria, © Compare the notes you have made with your partner. Activity 2 PART 2 Long turn This part tests the candidates’ ability to produce an extended piece of discourse. Candidates have the opportunity to show their ability to organise their thoughts and ideas, and express themselves coherently with appropriate language. 1 Make a copy of the Analytical Scale for Cambridge English: First (fig. 3 above), 2 With a partner, study the Discourse Management column of _—the table. As you look through the scales, highlight words which make one band different from another. 3) Watch the Cambridge English: First Speaking video (from about 3 mins 25 to 7 mins). Refer to the scale as you observe students carrying out a Cambridge English: First speaking task. VIEW GRESS Exams 39EXAMS 40 »> | © Note down examples of performance in terms of the listed criteria. © Compare the notes you have made with your partner. Activity 3 PART 3 Collaborative task This part tests the candidates’ ability to engage in a discussion and to work towards a negotiated outcome of the task set. The task gives candidates the opportunity to show their range of language and their ability to invite the opinions and ideas of their partner. Candidates are expected to share the interaction in this way and to initiate and respond appropriately. @ Make a copy of the Analytical Scale for Cambridge English: First (fig. 3 above). ® With a partner, study the Pronunciation column of the table. As you look through the scales, highlight words which make one band different from another. @ Watch the Cambridge English: First Speaking video (from about 10 mins 30 to the end). @ Refer to the scale as you observe students carrying out a Cambridge English: First speaking task. © Note down examples of performance in terms of the listed criteria © Compare the notes you have made with your partner. I Activity 4 PART 4 Discussion This part tests the candidates’ ability to engage in a discussion based on the topic of the collaborative task in Part 3. The questions give candidates an opportunity to show that they are capable of discussing issues in more depth than in the earlier parts of the test. @ Make a copy of the Analytical Scale for Cambridge English: First (fig. 3 above). (2 With a partner, study the Interactive Communication column of the table, As you look through the scales, highlight words which make one band different from another. (3) Watch the Cambridge English: First Speaking video (from about 7 mins to 10 mins 30). @ Refer to the scale as you observe students carrying out a Cambridge English: First speaking task. © Note down examples of performance in terms of the listed criteria. (© Compare the notes you have made with your partner. References: Cambridge English: First Handbook for Teachers for exams from 2015. Cambridge: Cambridge English Language Assessment. Understanding Assessment, an online course on www.cambridgeenglishteacher.org 2° %@ CAMBRIDGE ENGLISH Language Assess 11 (133) 2015www teachorpl | English village culture: Summer fetes and festivals Michael Czajkowski Open University, UK Jraditionally the English Summer is a time of the village fete. Usually planned to be outdoors, in the often misguided hope that it will not rain, this was an important source of entertainment and collecting money for local projects, such as repairing the church roof. If you are travelling around Britain it is well worth looking out for this aspect of British culture, Fetes and Flower Festivals The traditional fete is still held in many small villages though less common in recent years. This often involves activities on the village green with stalls selling traditional foods such as jams and honey, not dissimilar from the Festiwal Smaku held in Gruczno, near Swiecie, Pom., but on a smaller scale. The Rawcliffe Festival, near Goole in Yorkshire is a good example where everyone is encouraged to take part, Figs. 1, 2, 3. Local schools naturally Fig. 1 Rawcliffe Festival June 2013: Flowers, cakes ‘and children’s paintings inthe village hall. 11 (133) 2015 Michael Czajkowski Michael lives in England. His father was Polish and his mother English. He lectures on geography, geology, and planetary science for the Open University. He formally worked with Nottingham University where he also taught historical geography and related subjects. He has an interest in Polish geography and history and the use of geography and English in bilingual teaching. »> 41 CULTUREgyntindwww teacher. pl aes, get their students involved and among exhibits held in the village hall were flower arranging and miniature gardens. For the adults were separate classes of flower arranging, prizes (usually 2 book token) for the best vegetables and on the village green stalls selling local produce. In the afternoon were organised competitions for adults and children Scarecrow Festivals A development in recent years has been the Scarecrow Festival. Scarecrows are a traditional device for scaring birds away from crops so they dontt eat the seeds. They are common throughout the world and they have always had a fascination in English cultural heritage. The earliest British reference to ascarecrowis in 1592. I remember my children watching. television series, Worzel Gummidge, based on the books by Barbara Euphan Todd which was very popular in the 1980s. It was about a scarecrow who had a series of adventures with a group of children and was always getting into mischief. He was constantly having to be rescued by the children, He was dirty, rude to adults, the ideal children’s: hero to revolt against the authority of adults. He was very much a traditional scarecrow (Fig. 4), made of old clothes stuffed with straw set on a wooden frame with a head made from a turnip. Today techniques of scaring birds from fields have moved on. Guns powered bya gas canister are common. there is a time delay so once the birds have started to settle down again the gun g0es off again, but birds eventually get used to the rhythm so the times need to be adjusted. ‘A more recent devise are kites at the end of long thin poles. These are in the shape of predatory birds, such as hawks made of thin plastic. the wire support, often 4 - 5 metres high is strong enough to support the kite and any wind disturbance allows the move from side to side simulating a hovering hawk (Fig. 5). However, the scarecrow has become popular as an art form in weekend festivals in many villages throughout Britain in the summer. There is often. a competition where near life sized figures, often after weeks of preparation, are placed in people's gardens. These depict common events, well known children’s characters, both traditional and modern or well known people. Visitors are encouraged to buy a map of the village and grade the quality of the scarecrows. 11 (133) 2015 Fig. 4. traditional scarecrow. Fig. 5. Modern hawk:kite bird scarer »> CULTURE 43CULTURE 44 The Scarecrow Weekend in Mareham-le-Fen in mid Lincolnshire, near Boston is a classi example. In 2014 | paid my £2.00 and following the map wandered around the village ticking off the exhibits and making comments, like many other people on the day. The characters displayed followed many themes and varied from small scarecrow dolls made by children to very sophisticated scarecrows involvingactions. The latest film and television characters as well and more traditional characters are displayed (Fig. 6, 7. 8 and 9). Fig. 6. Straw scarecrows having a barbeque at the -Marehamle-Fen Scarecrow Festival Weekend, Lincolnshire. Fig, 7. Straw scarecrows; can you identify who they are supposed to be? 11 (133) 2015www teacher-pl | ait Fig. 9. Another well known character. May Day Festivals This is a much older festival whose origins are lost in ancient folk law and probably reflect, the death and rebirth of the new year with start of the growing season. In the Middle Ages the New Year started in March. The best known May Day Festival is the Obby Oss day held at Padstow in Cornwall It can attract 30 000 people. The festival starts at midnight on May Eve (the night before May Day) when a crowd sing “The Night Song” The Maypole, a decorated pole around which dancers whirl around holding ribbons attached to the May Pole, is decorated with flowers and greenery. In the day the Obby Oss {Hobby Horse} a man wearing a costume skirt built around a 1.8 m diameter hoop, appears and dancers around the village trying to catch young maidens under his costume (Fig. 10); all accompanied by people playing Fig. 10. The “Obby Oss", part of the May Day festival, Padstow Cornwall (Wikipedia). 11 (133) 2015 accordions and drums and singing the “Morning Song" (se Appendix). A second "Oss" was added in the 19" century and in the evening the two “Osses” meet at the Maypole and symbolically die, to be resurrected the following year. Well Dressings This is 2 much older form of festival and was traditionally held in a few villages in Derbyshire. In the limestone areas the rain quickly disappears through cracksin the rock so the running water on the ground is scare. The water then often reappears as springs, known as wells, and streams, many of which would dry up totally during the summer when rainfall is low. This is typical Karst countryside characterised by sharp peaks of limestone and caves, similar to the jura Krokowsko-Czestochowska. — Consequently, streams which run throughout the year are in short supply and meant that traditional sites for villages were scarce, and even then there was a constant fear of drought. Flowing water, that was of drinkable quality, was held in high regard and streams issuing from the ground held in great reverence, even from prehistoric times and customs grew up to ensure the water would keep flowing. With the coming of Christianity, the church took ‘over many of the pagan customs which had formally blessed these wells. Tissington, north of Ashbourne claims to have the oldest recorded history of well dressing. in the Middle Ages plagues which swept through towns were common and in Tissington it was claimed that it was the purity of the water from its wells that saved the village from several plagues, including the Black Death, the notorious plague which killed one third of England's and Europe's population from 1347 to 1353. Strangely much of Lesser Poland (Mata Polska) .seemed to have been little effected. Tissington also survived the severe drought of 1615 thanks to its 5 main wells when thousands of cattle, sheep and most of the crops were lost “There was no rayne [rain] fell upon the earth from the 25" of March until the end of Maye [May], and then there was but one shower. Two more showers fell between then and the 4® of August, so that the greater part of the land was burnt up, both corn and haye [hay/.” »»> CULTURE 45CULTURE 46 Consequently a thanksgiving service was held and the wells have been decorated each year in memory of this deliverance The Tissington Well Dressing takes place on Ascension Day, traditionally the fifth Thursday after Easter. About a week before the event the several organizations or teams each agree to decorate one of the wells and a general theme that the designs will follow. In 2014 it was the 100" Anniversary of the beginning of the First World War. The decorations take the form of large pictures made from local flowers and natural products. Boards which hold the decorations are placed into the village pond about a week beforehand to soak up as much water as possible to keep the flowers fresh (Fig. 11). Three days before Ascension Day, the boards are retrieved from the pond and plastered with a specially prepared mix of salt and a local clay. This is prepared by “treading”. The clay and salt is placed in a large vat and people tread it with their feet to produce the correct consistency in a similar manner that was done with grapes to extract the juice for wine. The design to be used by each team is then traced out using alder tree cones or coffee beans. The design is then filled in by sticking the petals of the flowers onto the clay. Each petal has to be laid like roofing T) tiles so that any subsequent rain or wind does not remove the petals. In the evening before Ascension Day the boards are erected over the well and this is the first time that the teams see their own board in the correct vertical position. For a video with more explanation go to: https:/www.youtube.com/watch?v= iSvIf70SmTU. This video was made in 2014 the centenary of the start of the First World War and consequently the boards are less colourful and in previous and this year. In the morning of Ascension Day there is a church service followed by a procession to each well where the well is blessed. The boards are kept for one week and then taken down. Large numbers of people attend the service and procession and over the weekend when the flowers are still bright (Fig. 12, 13 and 14). Well dressings have also become popular in many other places in Derbyshire and other places to recreate the atmosphere, or at least boost the local tourist trade. Other Festivals There are numerous other festivals each year. Music festivals have always been popular and Glastonbury is best known Fig. 11. Tissington well dressing, Derbyshire. The boards that will be decorated are left inthe village pond, 2014. 11 (133) 201511 (133) 2015 Fig, 12 Tissington Wel The procession between the pressing. 015 bd 5 Fig. 13. The blessing at the Hall Well, Tissington, 2015. » 47 CULTURECULTURE 48 for popular music but there is also Glyndebourne, in Lewes, East Sussex, famous for staging operas by Benjamin Britton. is opera Open air theatres, such at the Stamford Shakespeare Festival at Tolethorpe Hall near Stamford not only put on plays by the author but also encourage picnics in the hall grounds. It often rains of course! For lovers of food there is also the Bakewell Baking Festival (Fig. 15). Bakewell in Derbyshire is famous for a pudding consisting of a flaky pastry base with a layer of jam, topped with an egg and almond paste filling A Bakewell tart a more commercial variant usually has a layer of icing and a cherry on top. There is a Steampunk Festival at Lincoln for three days in August (Fig. 16). and in London there is the famous Notting Hill street Carnival that takes place in London on the last weekend in August to coincide with the Bank Holiday weekend. This celebration of West Indian culture is one of the world’s largest street festivals where over a million people take part. In the past this festival has been associated with pick pockets and riots but proper organisation has In the last few years produced a more peaceful festival, though as in any large event there are always trouble makers. This should not deter people from experiencing a fantastic atmosphere as the carnival of dance groups and floats in the their fantastic colourful costumes parade through the streets (Fig. 17). In the last few years 1940s Festivals have become very popular with many people dressing up in war time clothes both civilian and military of the allied forces, including Polish (Fig. 18) (German uniforms are not allowed). Women particularly enjoy dressing up in clothes our grandparents enjoyed completely ignoring the fact that at the time rationing was In force and most clothes were altered old clothes or hand made clothes. Some even dress up as black market “spivs" (salesmen) trying to sell nylon stockings and watches. And there are so many others. Although there are many things to see in England visiting @ festival is a good way to experience British culture Fig. 16. Steampunks at the Lincoln ‘Steampunk Festival August 2015 1 (133) 2015www.teacher Fig. 18. re-enactment group in the uniform of “Free Polish Forces”, 1st Army, at the Woodhall Spa 1940s Festival, June 201s 11 (133) 2015 ee >» CULTURE 49CULTURE ral Appendix: Padstow May Day: The Day Song (from Wikipedia) Unite and unite and let us oll unite, For summer is acome unto day, And whither we are going we will ail unite, In the merry morning of May. Arise up Mr. ... know you well afine, For summer is acome unto day, You have a shilling in your purse and I wish it were in mine, In the merry morning of May. All out of your beds, For summer is acame unto day, Your chamber shall be strewed with the white rose and the red In the merry morning of May. Where are the young men that here now should dance, For summer is acome unto day, Some they are in England some they are in France, In the merry moming of May. Where are the maidens that here now should sing For summer is acome unto day, They are in the meadows the flowers gathering, In the merry morning of May. Arise up Mr. For summer is acame unto day, Your steed is in the stable awaiting for to ride, In the merry morning of May. with your sword by your side, Arise up Miss... and strew all your flowers, For summer is acome unto day, It is but a while ago since we have strewn ours, In the merry morning of May. (Ol where is St. George, 1, where is he O, He is out in his long boat on the salt sea O. Up flies the kite and down toils the lark O. Aunt Ursula Birdhood she had an old ewe And she died in her own Park O. With the merry ring, adieu the merry spring, For summer is acorne unto day, How hoppy is the litle bird that merrily doth sing, In the merry morning of May. The young men of Padstow they might if they would, For summer is acome unto day, They might have buit a ship and gided her with gold In the merry morning of May. The young women of Padstow might if they would, For summer is acomne unto day, They might have made a garland with the white rose and the red, In the merry morning of May. Arise up Mr... and reach me your hand, For summer is acome unto day, And you shall have a lively lass with a thousand pounds in hand. In the merry morning of May. Arise up Miss ..... all in your cloak of silk, For summer is acome unto day, ‘And all your body under as white as any milk, in the merty morning of May. Ol where is St. George, 1, where is he O, He is out in his long boat on the salt sea O. Up flies the kite and down tails the fark O, ‘Aunt Ursula Birdhood she had an old ewe ‘And she died in her own Park O. ‘Now fare you well and bid you all good cheer, For summer is acome unto day, Wie call no more unto your house before another year, Jn the merry morning of May. For the music and procession see the YouTube video _Attps://www.youtube.com/ watch?v=RRatitnihxc a 11 (133) 2015www teacher pl ae CULTURE Ghost story ‘Trevor Hill ith Halloween approaching, a lot of W: people will be preparing costumes for parties and "Trick-or-Treating” or perhaps choosing scary films to watch What | notice year after year is that the focus is more on witches (thanks to Harry Potter) or horror-based themes, particularly with zombies and vampires being in vogue in recent years. However, amidst all the monsters and Zore, | still think there is room for a good old- fashioned ghost story. ‘Trevor Hill Trev is a graduate of Glasgow University, Edinburgh and Queen's Belfast. He mixes his classroom teaching with theatrical and musical activities and workshops. He currently lives in Olsztyn, Poland, where he teaches Polish students, as well as Saudi Arabian students on the international EPIC programme. 11 (133) 2015 lo» saCULTURE 52 »»> | l Even in this world of computer imagery and special effects, sitting around in a dark room telling spooky tales is still considered a fun pastime amongst children and adults (except for those who are really scared by such things). Often, a horror film will start with a group of teens at camp sitting around a fire or in a chalet telling tales of terror. This isn't just a western tradition. In Japan, there used to be highly formalized evenings of telling ghost stories called hyakumonogatari kaidankai The event took place in a room it by 100 candles. People told ghost stories, extinguishing one candle after each tale until there was only one leftalight. Then, following the final story, ittoo was extinguished, leaving the audience in total darkness. Sometimes they stopped at ninety-nine because after the last one was put outit was supposed to be possible to call the spirits. wv T suppose the school camp equivalent is shining a torch up your face! Zd A meme | saw ! on the Internet recently showed a cartoon of a girl watching, and enjoying, films of werewolves, vampire and zombies. The film which seemed to scare her the most was the ghost film. We might ask ourselves why this is so. Well, perhaps itis because we all know that the other three are less likely to happen. After all, when was the last time you spoke to anyone who'd had zombie problems in their life (except, perhaps, a class of teenagers at 8am... or even Spm). But many of us know someone who has had a ghostly experience or have had one of our own. Despite the rise in science, atheism and rational thinking, the ghost just doesn't die so easily. | know a few atheists who still get the jitters walking past a cemetery at night and many people who get a shiver down their neck when they talk about ghosts (me being one). An interesting thing about ghosts is that there a quite afew words for them in English. In some cases the words are interchangeable, whereas in other cases they are more specific. Let's ws consider some words for "ghost": phantom, shade, spirit, banshee, wight, wraith and revenant. While the first three are now pretty interchangeable, as you can see in Charles Dickens’ A Christmas Carol, the latter three have a much more exact usage. Wights feature in Tolkien's Lord of the Rings (the book, not the film) and are a kind of reanimated corpse which haunts old burial mounds (barrows). Although Tolkien seems to have coined the word, they are based on creatures called draugs which appear in the Icelandic Sagas of the Vikings (Tolkien was a professor of Old English). In some of the sagas, an outlaw called Grettir gains 2 reputation for defeating the barrow wights and stealing treasure from the graves. Wraiths are also something which appear in LOTR r and are a kind of ghost. The word is a Scottish term for a spectre — or apparition, but the Tolkien's revenant is a ghost which has returned (if it ever left) for a specific purpose, often revenge. Banshees are a kind of Celtic ghost which are connected with specific families and foretell a death by screaming, The name derives from the Irish language and means Fairy Woman, so it could be argued they are not | ghosts but that doesn't stop them being scary. ‘As | mentioned above, Tolkien is one writer who continued a long tradition in English literature of writing about ghosts. His were, as we saw, basedonmucholdertales and ghostshavebeen used by many authors through the ages, Folk ballads and poetry have a number of ghostly stories and Robert Burns based his famous poem about a ghostly chase, Tam 0” Shanter, ‘on stories he'd heard as a child. Shakespeare has a number of ghostly characters who often turn up to deliver a message or warning (eg. Banquo in Macbeth and Hamlet's father) and, of course, Charles Dickens torments Scrooge with four of them. However, perhaps the most famous 20" century writer, and one of the ‘most influential, was a man called M.R. James. M.R. James (1862-1936) was a medievalist, teacher, scholar and university professor who 11 (133) 2015www.teacherpl aoe =eeeee wrote some (still) highly regarded academic works about ancient texts. However, he is more renowned for his collections of short ghost stories, which he often wrote to amuse his students at Christmas time (interestingly, Tolkien also wrote The Hobbit for his students). The stories were later published collections and are still popular today. Lose Hearts and Oh, Whistle and Ill Come to You, My Lad are amongst his most famous. One of the important aspects of James's ghost stories was that he did not set them in the usual kinds of places previous writers had, such a creepy old houses or castles. Much of the action is centred around ordinary places like libraries and seaside towns. In giving his stories more contemporary and ordinary settings, he somehow made them even more frightening in that the reader could feel that they werent as safe in their normal world as they thought. Likewise, the protagonists of the stories are often academics, sometimes searching for old books or pictures and managing to find something a lot scarier into the bargain So popular and influential was his work that it inspired a new kind of genre, known as “the Jamesian ghost story’ that the best kind t stories James himself of gho: Gave the impression of being true (this brings it "closer to home") Had what he called “a pleasing terror” Didn't have excessive gore or sex (even though some of his works are not exactly free of violence) No explanations (2 bigger mystery) of how things happen A contemporary setting As | will suggest below, these are quite good guidelines for getting students to write ghost stories in class. Contemporary settings in ghost stories have now become very common. Recent films and stories such as The Ring or Sixth Sense are more unsettling because they are in places we recognize. One of the scariest points in Sixth Sense is where the little boy (who “can see dead people’) finds the ghost of a murdered girl in a prettily decorated child's bedroom or visions of executed criminals hanging from a beam in his school 11 (133) 2015 The success of such films which use simple techniques over explicit violence shows that a classic ghost story is still a favourite with audiences around the world. More recently, Susan Hill's 1983 book The Woman in Black has been made into an exceedingly popular theatre show and a film starring Daniel Radcliffe (sadly, the sequel film lacked much of what made the original so enjoyable). Activities in class It should be no surprise to you that | am going to suggest writing ghost stories as a classroom activity. Try using the advice of MR. James, restricting the amount of bloodshed and mutilations. Students can also try to think about what kinds of things scare them or what they might find unsettling in their local environmentand try to incorporate itinto their story. Remember, ghosts only... no zombies! In the past, | have often been disappointed when | have asked my students if they know any local ghost stories; however, that shouldn't stop you at least asking. Some countries and regions will have more than others. It can be fun to share and swap stories, particularly ifyou have a class of mixed nationalities. It is worth mentioning, however, that some cultures take the matter of ghosts and the supernatural much more seriously than others. A colleague of mine found this out whilst teaching a class of Arab students. He asked the class about “mythical creatures, like Djinn” and was slightly shocked when the entire class assured him that Djinn are not mythical, they are real. Ifstudents are really short of decent stories, there are a number of graded-language readers of »> CULTURE 53CULTURE 54 different stories, including MR. James, available. There are also a number of on-line sites with “true” ghost stories or fiction, such as Shadows at the Door. (www.shadowsatthedoor.com) Telling ghost stories is an excellent excuse (if you need one) to practice intonation and stress patterns, Get the students to play around with the speed of their narration; shorter sentences make the story go faster, so they can be used to great effect when there is something. exciting happening. Likewise, slowing a sentence down, pausing and stretching out vowel sounds, or using consonants for sound effects increases the creepiness of the telling. Example: She felt the cold water slowly drip, drip, dripping down her neck. She felt the coooooald wagaater slooowly drr-ip-drip- dri-p-p-ing down her neck If you have time and an occasion, such as a school Halloween party, you could have a story telling competition, getting the class to. vote on the scariest story or the best narration And don't forget to turn the lights out! Vocabulary: Djinn: A supernatural being in Arabian and Islamic traditions. This is not the same as a Genie https:// en.wikipedia.org/wiki/jinn Fetch: Aghostly image of a person who is still alive, Ghost: spirit of vision of a dead person Ghoul: A creature which lives around cemeteries, eating flesh of dead bodies Phantom: A ghost or illusion Poltergeist: From the German “noisy ghost’. ‘An entity which throws things around and/or makes noises Revenant: A spirit returning to complete a task or revenge Shade: Image or ghost Spectre: Ghost Spirit: The soul of someone/thing but also a word for a ghost. Spook: — Ghost Wild Hunt: a ghostly group of riders who sometimes ride across the sky or hillsides. Zombie: From Afro-Caribbean folklore (particularly Haiti), originally a dead person reanimated by amagician. Itcould also beaperson whose soul was stolen or captured by the magician. Traditionally, eating salt would free the zombie from the magician’s power. Phrases using “ghost’ words: Ghost writer: a person who writes a book for someone else but is not listed as the author. Phantom pregnancy: (medical term) where ‘a woman shows signs of being pregnant but isn't. Wikipedia sources: https://en.wikipedia.org/wiki/M._R._ James#Ghost stories https://en.wikipedia.org/wiki/Ghost_story https://en.wikipedia.org/wiki/Wight https://en.wikipedia.org/wiki/Ghost Video resources: A number of ghost stories are available on YouTube. Here are a couple. M.R. James /httpsi//mww.youtube.com/watch?v=KidwMpkbdCe https://www.youtube.com/watch?v=eTms6Hf1SEQ hhttps://mww.youtube.com/watch?v=5kha/14FWOO Sheridan Le Fanu's Green Tea https://mw.youtube.com/watch?v=5P3AcakpSLw Vincent Price https://www youtube.com/watch?v=77UKyAlZIM QBlist=PLO6791Gx8wOhn8gVGShICAnMoSOzgx!3C Christopher Lee https://www.youtube.com/watch? v=OWVXtowMDK 11 (133) 2015wwwteachorpl | Famous and places ii not so famous in Britain (Part 3) Colit Grimsby One town which doesn't often feature in the itineraries of visitors to Britain is Grimsby, a port in Lincolnshire, on the south bank of the Humber estuary. Grimsby’s history as a fishing and trading port dates back to the twelfth century; it boomed in the nineteenth century and, aided by direct rail links to London's Billingsgate Fish Market, became one of Britain’s major commercial fishing centres. Despite suffering a decline in employment during the depression of the 1930s, Grimsby retained its importance as a port during World War Two, with the Royal Navy making it the UK's largest base for minesweepers to patrol the North Sea. Many trawlers were 11 (133) 2015 in Ellis eee eeee ee eee Colin Ellis Colin lives and works in Edinburgh. He was born in Coventry, in the English Midlands, and went to school there. He studied German and French at Neweastle and St. Andrews Universities, spent time in France, Germany and Austria during his studies, and also taught English in Vienna. He is a Cambridge ESOL examiner and invigilator and teaches English and British Culture to students from all over the world at Regent Scotland and English Tutorials in Edinburgh. >» BRITISH CORNERBRITISH CORNER requisitioned to serve as minesweepers for the Royal Naval Patrol Service. Their crews often included ex-trawlermen, as well as men from the Royal Naval Reserve and Royal Navy volunteers. This dangerous work led to much loss of life. Grimsby was also bombed by the Luftwaffe in 1943. Inthe 1950s, Grimsby wasstill able to boast that it was ‘the largest fishing port in the world but, in a modernising Britain, the fishing industry held little appeal for those who weren't born into fishing families. The town suffered greatly as a result of the “Cod Wars” between Great Britain and Iceland during the 1960s and 1970s, with both countries disputing fishing rights in the North Atlantic, and in the end Iceland being victorious. The British government was forced to make concessions to the Icelanders, and the subsequent restrictions placed on British fishing vessels led to a dramatic decline in the industry, with Grimsby being severely affected. Mass redundancies resulted, with men whose families had worked in fishing for generations being unable to find alternative employment. Grimsby has managed to retain its connection with fishing, the fish market still exists, although, ironically, much of the fish sold there is imported from Iceland. There is also a large concentration of food-manufacturing and seafood companies in the area, with the local council promoting the city as Europe's Food Town. Yet, despite this, Grimsby is not a fashionable place, and it struggles with a negative image. It has always been a working man’s town - one visitor described how “/walked into a fisherman's pub and made the mistake of asking for a glass of red wine. This was in a place where anybody who asked for something like a pint of brown and mild was regarded as being effeminate and got beaten up, and | only just escaped with my life". Perhaps the name Grimsby, with its overtones of the saying (or cliché) “Its grim up north", contributes to the town's bad reputation in the UK media, Allegedly, the town was founded by Grim, a Danish fisherman, and became a Danish settlement in the 9th century AD. The name originates from Grim's by, derived from the name Grim, the Danish “Viking,” and the suffix -by, which is commonly found in place names in northern and central England and is the Old Norse word for village. But most people associate the word “grim” with its modern meaning, and recent media attention has only confirmed this impression. NaukaBezGranic EVROPEdGNT PROGRAN EDUSACYINY rl Grimsby was the setting for a recent TV documentary series about the effects of long- term unemployment, and a long essay in the London Review of Books linked the town's decline with growing local support for the United Kingdom Independence Party. Now the comedian Sacha Baron Cohen has announced that his new film, to be released shortly, is called Grimsby. Reportedly, it will feature a cast of grotesque characters, representing the town’s inhabitants; not surprisingly, the real citizens of Grimsby aren't happy with this. Is Grimsby that bad? Not according to this newspaper article, which shows the positive side of the town: http://www.telegraph.co.uk/men/the- {filter/11328749/1s-Grimsby-really-that-grim.html A long article on Grimsbys decline, with an interesting (if depressing) video: http://www. Irb.co.uk/v37/n08/james-meek/ why-are-youstill-here Denmark Street There's a rather cynical saying, the gist of which goes something like: the more a place is developed to appeal to tourists and visitors, the more its original inhabitants grow to hate it It’s true that most cities which depend on income from visitors have areas known as “tourist traps", which the locals are careful to avoid. However, it's rare that an entire city becomes alien to people who've spent their whole lives there - yet, to judge by the tone of recent reports on the many redevelopment projects under way in central London, that’s what appears to be happening there. Because of London's special status as a - or maybe even the - global financial centre, property all over the city is being bought up and sold on to anonymous investors or super- rich foreigners looking for a place to live, even if they only come to London for a few weeks each year. The result of this is that old communities are broken up, areas lose their historic character and the locals are priced out of their own city. Visitors from faraway places - China or the Gulf States, for example = won't know about any of this, but for those a sense of history, there is a feeling that something important may be irretrievably lost. Hence, the rise of pressure groups aiming to preserve historic areas from the wrecking ball of the property developer. One of the most vocal of these calls itself "Save TPA (Tin Pan Alley)’, it's trying to preserve what 11 (133) 2015www.teacher. remains of London's music business centre, which was based around Soho's Denmark Street, an area now at risk from the city's Crossrail development. What makes this area special is its mixed heritage; the street has a long history which included both elegance and squalor. Denmark Street was laid out in the 16” century and named after Prince George of Denmark, the husband of Princess Anne, who would reign as Queen of England from 1702-1707. Eight of the original houses are still standing and it is the only London street to retain 17*-century facades on both sides. In the 19" century, businesses and workshops were established in Denmark Street, but the street bordered on a notorious slum area, St. Giles, which was known to Charles Dickens. in 1911, the music publisher Lawrence Wright openedanofficein Denmark Street. Othermusic publishers followed, and the street began to be known as Britain's "Tin Pan Alley’, The popular music weeklies Melody Maker and New Musical Express were both first published in Denmark Street, in 1926 and 1952, respectively. This was an era in which music publishers ruled the roost - sheet music sales meant that it was the publishers, rather than songwriters or singers, who profited most. When record sales began to be more important, in the 1950s, 11 (133) 2015 little changed ~ even the Beatles’ songs were published by a Denmark Street publisher, Dick James. But although Denmark Street retained its appeal as a musicians’ meeting place, the old-fashioned music publishers began to lose control in the 1960s. There were big changes in pop music styles, and artists who wrote their own material became more aware of their rights and less willing to sign away a large percentage of their royalties to a publisher. The publishers’ offices were replaced by musical instrument shops and recording studios, and from the 1960s to the 1990s many of the best-known names in British pop music recorded, bought instruments and socialised in Denmark Street, the area's “edgy” Soho feel (local gangsters and street crime were not unknown) adding to its attraction for some. But gradually, as with the former newspaper industry centre of Fleet Street, much of the activity moved elsewhere. Despite this, the musical instrument shops still remain, as do a sole music publisher and a recording studio, Denmark Street still has its own atmosphere, and it is this that the Save TPA group wish to preserve. They fear that redevelopment will force up rents, small independent businesses will be forced to close, and what will be left will be just, as one campaigner puts it, “one of 57BRITISH CORNER 58 those faceless areas with a thin veneer of pretend culture slapped on top’. Arecent newspaper article on Denmark Street: http://www. telegraph.co.uk/music/artists/ denmark-streets-rich-legacy/ The thoughts of a leading music journalist: Attp://thebluemoment.com/2014/12/31/ farewell-to-tin-pan-alley/ The Save TPA campaign, with lots of videos: http://savetpa.tk/ Aberdeen Aberdeen is the third largest city in Scotland, with a population of 228,990, Situated between the River Dee and the River Don on the north-east coast, it is a Royal Burgh with a charter granted by King David | of Scotland (1124-53), which led to its growth as a centre ‘of manufacturing and trade, Aberdeen was burned down by King Edward Ill of England in 1337, but the town and its cathedral were subsequently rebuilt. It became a centre of learning with two universities, King’s College, founded in 1494, and Marischal College, founded in1593; these were united in 1860 into the University of Aberdeen. "Modern Aberdeen came into being after 1750, developing a range of industries including NaukaBezGranic textiles, shipbuilding and _—_ engineering, distilling, paper and granite, as well as the fishing industry for which it was best-known, Aberdeen remains Scotland's largest fishing port, even if the nearby ports of Peterhead and Fraserburgh are more important today. The harbour was constructed in two phases in the 19 century. By 1900, Aberdeen was the major retail, administrative and educational centre of northern Scotland. It is nicknamed “The Granite City’, because of the large number of buildings which are constructed from locally-quarried granite and exude an air of grey, Victorian solidity. But after the Victorian era, the city began to decline, due to its remoteness from Britain's major population centres; manufacturing suffered because of competition from cheaper, more accessible locations and fishing was affected by declining stocks, and by political decisions to limit access to traditional North Sea fishing grounds. Then, in 1969, oil and gas were discovered in the North Sea. In 1975, the Forties oil field came on stream, and Aberdeen became the capital of the British offshore oil industry. The North Sea oil boom brought the city a new lease of life and a big injection of wealth. Between 1971 and 2001, the city’s employed 11 (133) 2015www teacher pl wes population leaped from under 95,000 to around 150,000, and Aberdeen became a major centre of the world energy industry. Modern office blacks sprang up in the city, the population became far more cosmopolitan (with international schools for the children of oil company employees), and fortunes were made; new industries and_ infrastructure developments were introduced. These were dramatic changes, in what had previously been one of the more traditional areas of the United Kingdom. But the citizens of Aberdeen are known for their thrift - Scots from other areas of the country tell jokes about Aberdonian tight-fistedness, often the same jokes which in other countries are told about the Scots. Local politicians and business leaders seem keen to ensure that the benefits of the oil 200m aren't squandered. While Dundee and Glasgow voted for independence in the 2014 eferendum, the more prosperous cities of jinburgh and Aberdeen voted against it, with Aberdeen having a higher than average "Ni vote. Although the North-East of Scotland has rich local traditions (including its own dialect, “Doric” Scots, which may baffle outsiders) and the city and the surrounding countryside have plenty of attractions and sights to interest tourists, it is an area in which business plays a significant role - as shown by a recent controversy over plans to redevelop parts of the Victorian city centre, which were backed by a prominent local businessman but provoked strong opposition. Despite its relatively mild winter temperatures, Aberdeen is also the coldest city in the UK, which doesn't help its image. But there's plenty to see and do in and around Aberdeen, as the Visit Scotland website shows: http://www. visitscotland.com/destinations- maps/aberdeen-city-shire/ ‘An excellent Wikipedia article on Aberdeen, with lots of interesting information: https://en.wikipedia.org/wiki/Aberdeen Hay-on-Wye Something that's overlooked nowadays, in the current climate of Euro-scepticism, is that in the early years of Britain's membership of the European Economic Community, after 1973, the country’s farmers benefited greatly from the EEC’s Common Agricultural Policy. Farm income and productivity increased, at a time when cities were experiencing rising 11 (133) 2015 unemployment and social tensions. Although the number of people working in agriculture continued to decline, some rural areas experienced an influx of newcomers fleeing the cities and looking for an alternative way of life, or simply for more peace and quiet. They sometimes had little in common with long- established country-dwellers, but they did bring fresh ideas. The most striking example of this was the transformation of the small Welsh market town of Hay-on-Wye into Britain's leading “book town". Hay-on-Wye is situated on the Anglo-Welsh border, on the river Wye and in the county of Powys. Its within the Brecon Beacons National Park, and possesses two Norman castles. The 2001 UK census gave its population as a mere 1.469. In spite of its Welsh identity, Hay has an English postcode, because the nearest town is Hereford, 15 miles away on the English side of the border. All this might lead one to expect an idyllic, picture-postcard place, but in the 1970s, when the bibliophile Richard Booth returned to his hometown of Hay-on-Wye, after an education at Rugby School and Oxford University, he was dismayed at the state of the town and by the decline of the rural economy. Booth opened a second-hand bookshop in the town's old fire station, and ~ if Wikipedia is, »> BRITISH CORNER 59BRITISH CORNER 60 to be believed - “took the strongest men of Hay to America’, where he bought up books from libraries about to close, and shipped them back to Wales. Other second-hand booksellers followed his example and moved to Hay, and it began to gain a reputation as a "book town". Yet, Booth was still annoyed that politicians were ignoring Hay-on-Wye, so on April 1, 1977, he declared independence for the town, with himself as King “('Richard Coeur de Livre”) and his horse as Prime Minister. This was seen by many as an April Fool's Day publicity stunt, but Booth remained adamant that he had a serious aim ~ as his website puts it, to ‘shake off the bureaucratic grip of a central government which showed little or no practical interest in re-vitalizing the clearly decaying market town", and “as @ means of strengthening internal power, emphasizing support for local produce and loca! employment.” Over the years, Hay became a popular destination for book lovers and collectors, and other small rural towns followed its example; England's national book town is Sedbergh in ‘Cumbria, Scotland's is Wigtown in Dumfries and Galloway, and other book towns came into being in Germany and Scandinavia. In 2005, Richard Booth, still frustrated by Welsh politicians’ lack of recognition of the “book town economy’, threatened to sell up and move to Germany ~ despite the fact that he had been made an MBE in 2004, for services to tourism. But in the end he decided to remain in Hay. In 1988, the first Hay Festival of Literature and the Arts was held, and has continued as an annual event ever since. It attracts not only interested visitors but sponsorship from national newspapers and coverage on radio on television, from both the BBC and Sky TV, and has served as a model for the many literature festivals which have sprung up all over the UK in recent years. Since 2010, visitors to the town have other options: HowTheLightGetsin, a philosophy and music festival, is staged at the same time as the Hay festival each year. And when you visit Hay, you'll find that it's not just books that are for sale; if you're an aspiring Lord or Lady, you can buy an aristocratic title and become a “member of the Hay Peerage" for a modest fee. Richard Booth's website has details: ttp://vemw.richardkingofhay.com/royaltybuy- titles.htm! Hay-on-Wye's official website: ttp://www.hay-on-wye.co.uk/ NaukaBezGranic The Hay Festival's YouTube channel: https://www.youtube.com/channel/UCxry - uZZHHLFp7uUWw9KMw Middle England In recent times, a great deal has been written in the British press about "Middle England’, Anyone who'd just arrived back in the UK after spending thirty years in, say, a Tibetan monastery in the Himalayas, might well wonder at this, because the term was scarcely known a generation ago. It's usually taken to refer to a conservative “heartland’, like the "Middle America” which is said to exist in the USA, far away from, and in contrast to, the cosmopolitan atmosphere of East Coast or West Coast cities. Allegedly, Margaret Thatcher introduced the term into British political debate, after noticing how successful “Middle America" had been for its originator, US President Richard Nixon However, Britain is much smaller than the USA, so the geographical divisions between “red” (conservative/Republican) and “blue” (liberal/ Democrat) states aren't obvious on a map of the UK. Indeed, even the colours have different connotations, red standing for Labour and blue for the Conservatives. And if much of the political map of England is blue, that’s because large, thinly populated rural constituencies tend to vote for the Tories, while Labour's power bases are in the cities. So ~ is this “blue” territory Middle England? Perhaps; but according to Wikipedia, the term is a socio-political rather than a geographical ‘one, and “principally indicates the middle classes or lower-middle classes of non-urban England”, who “hold traditional or right-wing views”. Therefore, any politician who wants to win a General Election has to ensure that he wins votes in Middle England. Jeremy Corbyn’s recentvictoryin the Labour leadership elections has been viewed by many commentators as a disaster for the party precisely because the left-wing Londoner Corbyn’s political beliefs have little support in Middle England, But who are the Middle Englanders, and what do they believe? A BBC TV correspondent wrote: Middle England, one supposes, is a comfortable place, neither rich nor poor. Conservative. Law-abiding. Decent..... An American observer came up with a more colourful description; ‘Middle England-thot nebulous but sacred zone which, with its touch of Tolkien, refers to the millions 11 (133) 2015www teacher. pl of citizens who have acquired the hobbit-y habits of moderation, and who, having done O.K, would like to do better still.” And, just as J.R.. Tolkien's fantasy realm of Middle-earth is sometimes called The Shire (reflecting the author's own upbringing on the outskirts of Birmingham, not far from what in the 1900s, was still idyllic Warwickshire countryside), so the “shires", or prosperous rural counties, are where many of the Middle Englanders would like to live,. Yet, most of them can be found in the middle-class areas of towns and cities, As the BBC correspondent points out, their status is determined by income: One could argue that Middle Britain is the place with middling spending power. He uses the term "Middle Britain’, which is still uncommon; few people talk of "Middle Scotland” or "Middle Wales”, even if earners of middle incomes can be found in both countries. But the more frequent use of “Middle England” hints at additional iayers of meaning. It's sometimes seen as the land of the “Little Englanders”, who read right wing newspapers like the Daily Mail and Daily Telegraph, are resentful, xenophobic, socially conservative and culturally philistine, and wish that the twenty-first century, the European 11 (133) 2015 Union and the rest of the world would go away and leave them in peace. But is this true? A more nuanced analysis of Middle England's, attitudes concluded that this commonly held view is far too simple. Although papers like the Mail and the Telegraph sell well, their readers don't always believe everything they read, or parrot the strident right-wing views expressed in editorials or opinion columns. Anxiety certainly exists, especially with regard to crime and financial security, but today’s Middle Englanders are often university- educated. The survey concluded that Middle England is “conservative but with a small ‘c”. They may well be fiscally conservative, but they are mostly socially liberal. Their high fear of crime may stem from their position as the first middle-class members of their family: now they have something to Jose....” They are a diverse group, and “nicer than you think”. Asurvey of Middle England The Daily Mail bangs the drum for Middle England after the 2015 General Election’ 61MATURA 62 Ceasowmili positcowe i medaine 8 Find and correct mistakes in the auxiliary or modal ‘verbs in the sentences below. 11 Alluxury watch worth £30,000 has being stolen from ‘2 jewellers shop in London, 2 I wich | won't have to do the weekly shopping allby myself tomorrow 23 I'm afraid your cake is inedible, You must have followed the recive om start to finish 4 If have cemembered about his birthday, | would have ‘bought him a present yesterday 5 We would better not indulge in any more desserts and cakes, 6 You mustn't eat broccolif you don't like it— just leave iton the plate _GRAMATYKA, strona 204 (EEEEDIE Zaria ototicnitows id 9. Match ach sentence beginning to its ending using ‘the correct linking words from the box. [despite essoon as elthough so unless 11 Lmontt buy him any more toys oO 2 Supermarket chains are making 2 lot of profit [i 3 Bob didn't receive 9 refund i 4 He got £300 from his grandparents 5 Hl serve the main course Qo 2 he made a complaint about a faulty mobile, 'b everyone has finished their starters, «¢ he promises to look afer them. d the recession «he splashed out on designer clothes 10 Complete the sentences with one word in each gap. 1 Thad to smile and pretend that everthing tasted great ‘as not to offend the host. 2 ‘the fac that shopping online can be very convenient, also hes its drawbacks, 3 According to this diet, you can eat anything you want ‘that you est in moderation, 4 Shopping is not my cup oftea._, my sister could easly be classified as a shopaholic. | GRAMATYKA, strona 230 Pred wpisaniom wyrazu w kaida luk zastanéw sig, jake czpte mowy powinns sie w nie] znalese 11 Unupetn tokat. Wataw po jadnyen wyrasow lu 1-4 tak aby otzyma¢ logieny | poprawny sramatycznie tekst. MEET THE 21ST-CENTURY SAVVY SAVER Not long ago people used to walk into a restaurant and pay the prices that were printed on the menu. “The past ten years though have seen the rise ofthe savvy moneysaver, who knows how to pay ! for more, and delights in doing so. He's been created bya combination of circumstances the recession, of course,? also the rise of the Internet and clever marketing tricks from companies that desperately need the extra sales. ‘The rise of the discount has changed our shopping habits, Recent research showed that more than of us always search online before making a purchese. Partly in response * the credit crisis, every day in Britain we use 24 million discount vouchers, of which the most popular are for restaurants and other leisure purchases Aclear trend emerges:‘_careful about ‘money is now fashionable and socially acceptable. It has become part of our culture, more than justa fad. 12 Some people believe saving money is very ‘important, especially in today's economy. Do you agree? Why?/Why not? 11 (133) 2015www.teacher.pl Bi ‘grammatical structures that you have used to ‘complete the text. 2 sedjnk bb czasonikpositxowy (] <¢ czascnnik bgdacy copia cesowmikefrezowego (Ghrasa ve) | d przyimek [1] mm Do exgsto sprawdzanych struktur gramatycznych Feksykalnych w sadaniu polegajgcym na vzupotnianiy toketu naleta: + prayimki: Have you ever wasted money x something completely useless? | 2. Match the gaps in Exercise 1 with the lenial or + ezasownikifrazowe (phrasal verbs): These studies Looks into the eating habits of adults sth a healthy body mass index + ezasomnild postkowe i modalne: | tous bought jeans in this shop several times now, 301 know what size | am. He _1auit_ have been embarrassed when he noticed hhe didn't have enough money to pay for the meal + dania okelicznkowe: Although we have distinesy dif Taste, love shopping with my mum, nt styles and Porostae stuktury cxgstosprawaiane w zadani tego typu st ‘oméwione w rezdaale 8 na strane 132. 11 (133) 2015 MATURA EMF ¥ tothe cect ote, to ee Sucre teas che pao peminaeae ir 2 MEN esis sve wes Deaton ca pir a The inte sj RAS oy Chee apace Fomor ee 3s Nenesian/plsiod Naess parcpa ana sania Aof Bower — Cwith for 5 Shopping while ina bad mood s more likely to be hemi you than beneficial Ato Bagainst Con with 4 Inpaies, answer the questions. 1 Do you sometimes buy things to cheer yourself up? \Why2Why noe? so, what do you usully buy? 2 Do you ever buy things to reward yoursell? Why?Why not? Iso, what do you reward yourself for? 5. Complete the sentences with one word in each gap. 1 Bananas, potatoes, beans and nuts ar all ich potassium. 2 Scientifically speaking, pumpkins area fruit but when ‘comes cooking, they are often relerrad to asvegetables, 3 The world’s largest carrt produce is China, which in 2011 accounted ‘over forty-five por cont of global curput 4 Although it shares the same name, the sweet potato isa root vegetable and only loosely related. the potato, 5 The vitamin content ofthe mango depends the variety and maturity ofthe fit & Which ofthe facts from Exercise § surprised you the most? Why? 7 Complete the sentences with one word in each gop. 1 Ite eaterto up eating sweets than salt. 2 Ifyou want to lear to cook, the best way ito up ome simple recipes on the intarnet. 3 The job ofa shop assistants realy hard because they haveto ‘Up ith voublesome customers 4 The best way 1 save money isto __dowa an buying things you don’ needwycinanki w kolorze i czarno-biale éwiczenia grafomotoryczne piosenki poradniki dla rodzica filmy komunikacyjne animacje gramatyczne tematyczne listy slow w wersji audio kompletne nagrania do kursu ESK to portal uczniowski dedykowany nauce jezyka angielskiego i niemieckiego, w ktérym uczeri otrzymuje dostep do wielu materiatow multimedialnych pomocnych w_utrwalaniu sléw, wyrazen i struktur gramatycanych. 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