• Abstract and Figures
• Public Full-text

Keeping the Classroom in English and Using Functional Chunks of Language Sponsored by US Embassy Tbilisi, Georgia March 19-23, 2012 Helena Curtain, Ph. D. [email protected] or [email protected] Electronic Version is available on Helena’s wiki Helenacurtainswiki.wikispaces.com

Table of Contents Target Language Classroom Keeping the Classroom in the Target Language 2 Role of English 3 ACTFL Position Statement on Use of the Target Language 3 Continuum of Language Activities 3 More on Making Language Comprehensible and Checking For Understanding 4

Language Functions 5

Functional Chunks of Language Strategies for Conversational Management 6 Language Ladders 6 Passwords, Songs, Chants & Rhymes 7 Gouin (Action) Series 8 Natural Approach Questioning Sequence 10 TPR 12

Young Learners Workshop, Tbilisi, Georgia , Helena Curtain Ph.D., [email protected], Page 1

KEEPING THE CLASSROOM IN THE TARGET LANGUAGE Enduring Understanding/Big Idea: Keeping the classroom in target language is a key factor in the success of language instruction. Essential Question: How can we provide purposeful, meaningful contexts to motivate student language use?

Why should we keep the classroom in the target language?  Learners need to be surrounded with comprehensible input.  Students need opportunity and reasons to use the language.  Target language instruction is brain compatible instruction.  Language is the key to culture. The limits of my language are the limits of my world—Wittgenstein How do we keep the classroom in the target language? 1. Use the target language consistently—95-100% of the time. Surround students with the new language 2. Separate the native language from the target language. • sign or signal • routine 3. Avoid translation (as a first resort) • by the teacher • by the student 4. Make the language comprehensible. • Caretaker speech --the teacher presents the information in simple, direct language and chooses vocabulary and structures that incorporate considerable material that is familiar to the learners. • Breaking down directions and new information into small, incremental steps. The younger the learner, the smaller these steps need to be. • Making lavish use of concrete materials, visuals, gestures, facial expressions, and bodily movement. • Modeling every step of the process or the directions being presented. This modeling often takes place with exaggerated gestures or materials. After presentation, the teacher might go through the directions again and have the students pantomime the actions required. 5. Contextualize the lesson or activity 6. Monitor comprehension. • listen for “gist • monitor for “gist” 7. Maintain a physical and school environment to support the target language. 8 Teach functional chunks of language and use strategies that support target language use. a) Teach functional chunks of language (prefabricated language).  TPR, TPRS, Natural Approach, Gouin (action) series  passwords and language ladders, repetitive stories, rhymes, poems, chants, songs, games  Use partner and small group activities. b) Use questioning strategies c) Use partner and small group activities

Role of English in the language classroom:  intentional  for a purpose  conscious decision Young Learners Workshop, Tbilisi, Georgia , Helena Curtain Ph.D., [email protected], Page 2 Shall I Use English for a lesson segment? Shall I Use English to clarify vocabulary?  Can I find a way to communicate the new idea in the  Have I already tried using visuals, new language with visuals, gestures? gestures, or other strategies to get the  Can I simplify? meaning across?  Can I enrich the context?  Will failing to understand this vocabulary  Can I substitute a different concept? item interfere with the progress of the lesson?  Can I delay this topic until we can deal with it in the  Will using English interfere with my goal target language? of teaching primarily in the target language?  Can I ask the classroom teacher to follow up?  Could this be part of the lessons I leave for a substitute teacher?  Is an English explanation essential to further progress toward my goals for this lesson?

Position Statement on Use of the Target Language in the Classroom American Council on the Teaching of Foreign Languages

Research indicates that effective language instruction must provide significant levels of meaningful communication and interactive feedback in the target language in order for students to develop language and cultural proficiency. ACTFL therefore recommends that language educators and their students use the target language as exclusively as possible (90% plus) during instructional time and, when feasible, beyond the classroom. In classrooms that feature maximum target-language use, instructors use strategies that include:

 providing comprehensible input that is directed toward communicative goals;  making meaning clear through body language, gestures, and visual support;  conducting comprehension checks to ensure understanding;  negotiating meaning with students;  eliciting talk that increases in quantity over time;  encouraging self-expression; and  offering feedback to assist and improve students’ ability to interact orally in the target language.

Continuum of Language Activities Low Risk High Risk Patterned Controlled Independent Practice activities Structured Conversations Open-ended conversations (Chants, songs, stories) Partner work—limited choice presentations Memorized presentations Skits

Young Learners Workshop, Tbilisi, Georgia , Helena Curtain Ph.D., [email protected], Page 3 Making Language Comprehensible & Contextualizing This is the most basic way that the teacher can help language learners to understand the language of the classroom and the curriculum. The teacher helps the student understand the language through use of gestures, visuals, and concrete examples, and through the routines and rituals of the lesson and the school day. Especially with entry level students, it is important that teachers use their acting abilities, as well as concrete objects, to illustrate meaning. Following are some ideas for making language comprehensible and providing context.

 Gather materials such as visuals, models, manipulatives, videos and other tangible referents to contextualize the lesson.  Write all homework on the board. Develop a homework system, notebook, etc.  Avoid doing all the talking for extended periods of time.  Pace the class and provide opportunities to interact and move about.  Set up a cooperative leaning environment.  Develop thematic units which make information more accessible to students since it is put in a meaningful context and is not presented in isolation.  Personalize the language or the information.  Support verbal explanations with non verbal cues: • Gestures/ facial expressions • Props, realia, manipulatives, concrete materials • Visuals, graphs, pictures, maps • Demonstrating, or “acting out,” the meanings of words  Make language modifications such as the following: • Controlled, standardized vocabulary • Speaking clearly • Defining words in a meaningful context • Possible slower speech rate • Caregiver speech • Paraphrasing in simple terms when using more complex expressions • Teach vocabulary by using the following strategies • Using realia or visuals with words • Giving antonyms • Providing synonyms • Placing new words on a continuum (For example, show how “warm” and “cool” would fit on a continuum with “hot” at one end and “cold” at the other end). • Using words in context • Suggesting logical relationships • Maintain a physical classroom environment to support language learners. The following are examples: • Posting class schedule • Posting objectives • Posting class rules • Labeling room and classroom objects • Labeling school and classroom • Posting school lunch menu • Developing hallway displays

Young Learners Workshop, Tbilisi, Georgia , Helena Curtain Ph.D., [email protected], Page 4 Checking for Understanding While it is very important to make language comprehensible and to provide context for lessons, this is not sufficient, and checking for comprehension must be a part of every lesson. Teachers can assess understanding in various ways: • Check comprehension with nonverbal responses (nodding of heads, raising hands, signaling, actions, drawing ...). • Personalize questions. • Repeat, if necessary, review main ideas and key vocabulary. • Provide many ways for students to practice what they are learning: orally, in writing, using pictures and using actions. • Use a variety of question types. • Ask students to apply the concept being taught • Using questioning strategies that correspond to various stages of language proficiency.

Five Basic Language Functions Use language rather than Know About language

Socializing using different modes of address Getting things done Organizing and maintaining inquiring about health Requesting/ suggesting communication greeting/introducing/thanking making arrangements attracting attention reacting to offers, requests, expressing lack of comprehension Exchanging information suggestions, invitations asking for repetition or rephrasing Identifying/ describing inviting/ instructing asking how to say something in asking for/giving information the target language narrating personal experiences Expressing attitudes asking how to spell something inquiring about or expressing expressing admiration asking someone to explain what knowledge/opinions/wishes expressing approval/disapproval they just said asking for/giving permission expressing interest/disinterest stating necessity and need expressing friendship inquiring about or expressing expressing regret/apology likes/dislikes/preferences expressing need

Australian Language Levels Guidelines, Book: Syllabus Development and Programming. Australia,: Curriculum Development Centre

Young Learners Workshop, Tbilisi, Georgia , Helena Curtain Ph.D., [email protected], Page 5 Functional Chunks of Language

Oral language is the first step in language acquisition, as well as the key to success with written language. Students need many opportunities to use the language orally. Once they have made the connection between the oral language and the printed word on the page, they will have opportunities for success with all the modes of communication. Students often do not get enough opportunity to use the language; unfortunately it is we teachers who do most of the talking. These strategies for teaching and using functional chunks of language will empower students to use the language early and often.

Teaching functional chunks of language/Prefabricated Language

Functional Chunks: Sample Strategies for Conversational Management (classroom survival expressions) Did you say? I don’t understand . . . I don’t understand why . . . How come . . . ? Could you repeat it please? Please say that again.

Conversational Management ¿Podría repetir por favor? ¿Cómo están Uds.? Spanish Examples Puedes repetirlo otra vez? ¿Qué significa...? Me gustaría saber cómo se dice... ¿Qué dijo? ¿Qué dijistes? Yo no entiendo ¿Uds. entienden? ¿Qué dijiste Ud. Yo no comprendo porqué... ¿Cómo se dice? ¿Ud. me puede explicar? ¿Cómo se escribe? ¿Cómo se deletrea?

Functional Chunks: Language Ladders Language ladders are phrases that are linked together in a meaningful way, for example, different ways to say hello or good-bye, or different ways to express approval. Listed below are some sample passwords and language ladders. Praise Greetings Excusas para no tener la tarea. Trés Bien! Guten Abend/Morgen/Tag! Estaba ocupado(a) Estaba cansado(a) Magnifigue Grüß dich! Estaba enfermo(a) Tenía sueño Merveilleux Grüß Gott! Salí con mis padres No pude hacerlo C'est Si Bon Gute Nacht! No entendí Se me olvidó Bon Travail Auf Wiedersehen (hören)! No sabía cómo hacerlo Fantastique Tschüß! No tenía el libro Prodigieux Dejé mi libro en la escuela/casa Exclamations: Negative Tuve práctica de.... fútbol, piano, coro, ballet, Have a nice… ¡No me molestes! gimnasia... Have a nice day! ¡No me fastidies! Have a nice weekend! ¡No me toques! Conflict Resolution Have a nice meal! ¡No me hables! I don’t like it when you__ Have a nice vacation! ¡Déjame en paz! Please stop. Have a nice trip! ¡Déjame tranquila (o)! I feel___when you ___please____ anymore. ¡Basta! !Para! I think you have my___. Could you give it back ¡Suficiente! ¡No más! please!

Functional Chunks: Passwords— useful phrases taught as memorized chunks. Students must use the “password” to be able to do something, for example, leave class. Passwords could be any of the phrases listed in the language ladder above. The Young Learners Workshop, Tbilisi, Georgia , Helena Curtain Ph.D., [email protected], Page 6 password is a gimmick for having students use the language that they have memorized. Usually they are posted on the bulletin board and changed weekly.

Functional Chunks: Songs Goodbye Song Tune: This Old Man Transportation Song Tune: Good Night Ladies Regarde la tête Tune Skip to My Hasta Mañana Et les yeux Car on the freeway zoom, zoom, Hasta luego le nez, la bouche, les cheveux zoom. Hasta la vista Boat in the water splash, splash, Nos vemos, Adíos l'estomac, le ventre splash. les bras, les mains, les doigt Bus on the road stops and goes. Tune: La Bamba Je suis un petit peu malade Gets you from here to there. Hey! Para sacar buenas notas Para sacar buenas notas Voilà l'épaule Plane in the blue sky flies all Se necesita estudiar mucho le genou around. Estudiar mucho todos los días les dents, la gorge, et le cou Skates on the playground, don't fall Hacer la tarea, tener un lápiz y papel. le derrière, le dos down! Tener un lápiz y papel. les jambe et les oreilles Shoes on the sidewalk stomp, stomp Je suis un peu fatigué(é) stomp. (Stomp feet) Buenas notas buenas notas... Lisa y Get you from here to there. Hey! María

Functional Chunks: Chants, Rhymes, and Poems Nothing makes a phrase “stick” like a catchy rhyme or a rhythmic chant. Songs, rhymes, and chants contain language in an easy to remember format. The rhythm and rhyme are memory enhancers and place the information to be learned in a game-like format. Memorizing carefully-chosen (or constructed) rhymes and poetry has cognitive benefits, in addition to providing practice with the chunks and, in some cases, experience with cultural products or reinforcement of curriculum content. Chant Clothes Spanish Pizza Chant Italian What’s in Your Book Bag Chant Me pongo el sombrero Pizza! Pizza! T: Hello ____what’s in your book bag? ?Que te pones tu? Chi mangia la pizza? T: Hello ____what’s in your book bag? Futti! Futti! Me pongo el suéter Italiani! Americani! S: I have a _____ in my book bag. ?Qué te pones tú? Francesi! Cinesi! S: I have a _____ in my book bag. Futti Mangiano la pizza! (Los zapatos, arretes etc.) T: Hello class, what’s in his/her book bag? T: Hello class, what’s in her/his book bag?

Young Learners Workshop, Tbilisi, Georgia , Helena Curtain Ph.D., [email protected], Page 7 Sample poems and rhymes

Oral experiences with chants, rhymes, and poems can be extended to writing opportunities, using simple formulas, patterns, and frames.

Acrostic G racias por R opa Mi Cas A linda C omida deliciosa Mis am I gos El tiempo A gradable en octubre y noviembre. El dia de Gracia S

Cinquain 1. Choose a subject; identify it in one word 2. Describe the subject in 2 words Winter (noun + adjective, adjective +adjective) white snow 3. Describe an action associated with subject skiing, skating, sliding 3 words (often 3 verbs) excitement, joy 4. Express an emotion associated with the word, using 2 words Wonderland 5. One word to sum up, express the essence.

Functional Chunks: Gouin (Action) Series (Based on the work of François Gouin, a French linguist) The Gouin (Action) series is a great activity for moving students from listening to speaking, and it also provides a good context for embedding functional chunks of language The teacher prepares a series of six to eight short statements describing a logical sequence of actions which takes place in a specific context—getting up in the morning, cooking a meal, using the library, making a phone call, doing a science experiment. These statements should all include concrete action verbs and use the same tense and the same person throughout. The teacher presents the statements to the class orally, accompanying them with pantomime of the actions involved. A few simple props may be necessary. The class responds first by doing the actions, and later responds by saying the words while still performing the actions. The class responds first as a group and later as individuals. The teacher stops modeling the actions as soon as students can respond to the language without help.

The Gouin Series is easy to recall because it has many ways to get across the meaning. • physical actions • visuals and props • logical sequence • beginning, middle and end to a story • appeals to several senses

Young Learners Workshop, Tbilisi, Georgia , Helena Curtain Ph.D., [email protected], Page 8 The elements of a successful Gouin (Acton) Series How to Teach a Gouin (Action) Series • An introduction, which sets the scene and 1 Teacher presents orally, with pantomime, props. motivates the action 2. Teacher repeats orally, class joins pantomime. • Concrete action verbs 3. Teacher repeats orally without pantomime, • One specific, clear context class pantomimes, teacher does not model • One tense (not necessarily present) 4. Teacher repeats orally, individuals pantomime • One person (not necessarily first person singular) 5. Class repeats orally and pantomimes • 7-syllable limit (approximate) 6. Possibly--individuals lead the series • Approximately 6-8 statements (or commands) 7. Possible reading, writing activities • Simple props or visuals to dramatize the action • Logical sequence of actions

Sample Gouin Series Eating a Sandwich the German Way Happy Birthday Ich habe Hunger. Going to Class Shhh! Ich lege meine Hände auf den Tisch. I look for my materials. I'm going to a surprise party. Ich sage: “Guten Apetit.” I go the class. I buy a gift. Ich nehme das Messer in die rechte Hand. I take off my hat. I wrap the gift. Ich nehme die Gabel in die linke Hand. I take out my gum. I put a ribbon on the gift. Ich stecke die Gabel in das Käsebrot. I greet the teacher. I walk to my friends house Ich schneide das Käsebrot. I sit down. I knock on the door (Knock, Knock, Ich esse das Käsebrot I hear the bell. Knock) I take out my homework. I say hello to my friend's mother. Visiting the Rain forest I go into the house. I arrive at the rain forest. I hide. I walk through many trees and plants. I see my friend. I am hot and wet. I jump up! I small the sweet orchids. I say " Happy Birthday" I see a gray sloth. I hear the toucan. I say, "What a beautiful place!"

Young Learners Workshop, Tbilisi, Georgia , Helena Curtain Ph.D., [email protected], Page 9 Using Questioning Strategies (Natural Approach) Based on Krashen and Terrell Adapted for ACTFL Proficiency Terminology Questioning Strategies for the Novice Low and Novice-Mid Levels Hand out objects or pictures (for example, pencil, paper, ruler) to several students, (for example: Veronica, Tony and Helena). (For beginners, three students each with one object is a good number to start with.) Give “Tony” the book, “Veronica” the ruler and “Helena” the pencil.

1. a) Tell Students a) Physical Point to the paper. Point to the pencil. Point to the ruler. Response Student point to the object or picture you are naming. Do this several times and change the order. ) b) Giving name of (You can skip this stage and start directly with Part B) student who has object or picture B) Ask students: Who has the ruler? Who has the pencil? Who has the book? They answer with the name of the student who has the object. Do this several times and change the order, making it playful, as if you are simply unable to remember!.

2. Students Next ask the students to answer with “yes” or “no.” respond with YES or NO Does Tony have the paper? Does Helena have the pencil? Does Veronica have the pencil? Does Tony have the book? Does Helena have the paper? Does Veronica have the ______? Do this several times and change the order, continuing to make it playful.

3. Students say the Next ask for the name of the vocabulary item with an either –or question. This is the target language first time that they actually say the vocabulary word, even though they have had many vocabulary by encounters with pointing to it and telling who has it or doesn’t have it. answering an EITHER-OR Does Tony have the book or the pencil? question. Does Veronica have the pencil or the ruler. Does Helena have the pencil or the book? Does Tony have the ruler or the book? Does Veronica have the ruler or the book? Does Helena have the ruler or the pencil?

Keep asking these questions and keep changing the order, making sure that the correct answer is not always in the same position (first or second). Students can answer just with the vocabulary word, or they can answer in a sentence depending on the difficulty of the vocabulary and the level of the students. Now you ask: 4. What does Tony have? “WH” Question What does Helena have? What? Who? What does Veronica have? When? Where? The students should respond with the name of the vocabulary item. A single word response, a phrase, or a complete sentence is up to you.

Depending on what type of beginners they are, they may be able to say a bit more. Young Learners Workshop, Tbilisi, Georgia , Helena Curtain Ph.D., [email protected], Page 10 5. Tell me Tell me about the ruler. about… “The ruler is red.” “The ruler is long.” (Extended Tell me about the book. Discourse at a very “The book is red and white.” “The book is big.” simple level) Tell me about the pencil. “The pencil is blue.” “The pencil is short.”

The teacher may move fairly quickly through these steps, depending on the learners and the difficulty of the material, or they may take a step back when students hesitate or need extra scaffolding. The same strategy can be used with prepositional phrases (“Is the pencil on the book or under the table?”) and other language chunks.

Levels of Questions for Novice High Intermediate Low

Why? How? Tell me about – Talk about (Expectations for the response are more advanced than the response expected in Number 5 above.) What do you think about? Describe… How would you change this part of the story?

Levels of Questions for Intermediate High, Advanced Low

What would you recommend/suggest? How do you think this story will end? What is your opinion (on this matter)? Describe/compare… How are these different/similar? What would happen if…? Which do you prefer? Why

Young Learners Workshop, Tbilisi, Georgia , Helena Curtain Ph.D., [email protected], Page 11 Total Physical Response (TPR)

Adapted from Curtain, Helena and Carol Ann Dahlberg. (2010) Languages and Children: Making the Match, 3r 4th Edition. New York: Pearson Allyn and Bacon. For more information see Sky Oaks Productions http://www.tpr-world.com the web site of James Asher, the inventor of TPR. TPR, or Total Physical Response, uses movement to help establish meaning and set a purpose for language use. This systematized approach to the use of commands was developed by the psychologist James Asher in the late 1960's (see Asher 2000). TPR has become a common and effective means of introducing children and adults to a new language, through listening and physical involvement, especially in early stages of instruction. Many teachers find it to be an especially engaging and effective way of introducing new vocabulary and making it meaningful. In TPR, teachers interact with students by delivering commands, and students demonstrate comprehension through physical response. The following sequencing is recommended by Berty Segal (no date); examples have been added by the authors.

1. Commands involving the entire body, large-motor skills • Point to your ear. • Put your left hand on your head and turn around three times. • Walk backwards to the front of the class and shake the teacher's hand. • Clap your hands for Mary. She did a good job. 2. Commands involving interaction with concrete materials and manipulatives, beginning with classroom objects • Take the red circle and place it in the wastebasket. • Pick up your green crayon and lay it under your chair. • Walk to the chalkboard, take a piece of yellow chalk, and draw a picture of the sun. 3. Commands relating to pictures, maps, numbers, and other indirect materials • Go to the map and trace the outline of Paraguay. • Go to the picture of the bathroom and (pretend to) brush your teeth. • Go to the wall chart and point to a food from the fruit and vegetables group. When giving a command for the first time, the teacher models the desired behavior, removing the model after several repetitions of the same command. After students respond confidently to a number of single commands, the teacher begins to combine commands in original and unexpected ways, so that students discover that they can understand and respond to language expressed in ways that they have never heard before. Students are not expected to respond orally until they feel ready, and early oral responses involve role reversal (a student takes on the role of the teacher and gives commands to others in the class), and some yes-no and one-word replies to the teacher's questions. This strategy involves little or no pressure to speak in the early stages. Some very important aspects of the strategy include the creation of novel commands, which encourages careful and creative listening, and the combination of commands so that students perform several actions in sequence. The sequence of commands must never become predictable, and students must be confident that the teacher will never embarrass them. In its simplest terms, TPR seeks to teach new concepts through the body. Students discover that they can make the connection themselves between new language and its meaning, without translation into English or explanation by the teacher.

Young Learners Workshop, Tbilisi, Georgia , Helena Curtain Ph.D., [email protected], Page 12 TOTAL PHYSICAL RESPONSE TPR -- BASIC CONCEPTS James J. Asher (TPR Inventor) 1. Understanding the spoken language precedes speaking. 2. Understanding is developed through students' body movements. 3. Speech should not be forced since students naturally reach a readiness phase where speech becomes spontaneous. From: Asher, James J. (2003). Learning Another Language through Actions (6th edition).Sky Oaks Productions, Inc., P.O.Box 1102, Los Gatos, CA 95031. TOTAL PHYSICAL RESPONSE TPR -- BASIC CONCEPTS Synthesis by Carol Ann Dahlberg • Teacher uses commands, students respond with actions, not words • whole body • manipulation of concrete objects • use of pictures • New concepts are taught through the body. • There is sufficient repetition to provide ample listening opportunity before expecting students to respond with an action. • The teacher adequately models the action to insure comprehension. • After introduction, commands are recombined to create novelty, unpredictability. • Commands increase in length and complexity, calling for a series of actions as soon as possible. • All activities take place in the target language. • Students are neither required nor taught to speak. • Speaking emerges when students have had enough listening experience, usually in the form of role reversal. • The order of commands is changed to increase interest. Culture applications: • Model target culture gestures and action sequences. • Create fantasy culture experiences • Incorporate realia and authentic materials

TPR TECHNIQUES Ramiro Garcia Introducing Techniques 1. Give the command and model the behavior. 2. Student chooses between two items; already knows one, is asked to choose the other. 3. Student is asked to choose among 3 items; already knows one, guesses again if wrong. 4. Teacher gives obvious clues to the meaning of the command. Observations and Suggestions 1. No room for error -- or: if they make a mistake, whose fault is it, anyway? 2. Factorial principle -- it is important to combine and recombine material introduced before adding new material all the time. 3. Avoiding English -- handling abstractions. 4. Use the easiest path possible BUT don't become too predictable! 5. Keep the right-hemisphere atmosphere flowing -- don't expect discipline to mean silence! 6. Long-term retention is one of the key outcomes of TPR -- it's worth the risk.

Young Learners Workshop, Tbilisi, Georgia , Helena Curtain Ph.D., [email protected], Page 13 Working Techniques 1. Recombine vocabulary in new situations -- novelties. 2. Introduce new items carefully -- don't overwhelm with to much. 3. Involve lexical items already known in more complicated performances. 4. Include small particles and function words that hold the language together. 5. Keep retrieving the original material introduced. 6. Make use of equivalents and synonyms from the beginning -- carefully. 7. Give several commands in sequence to be performed in continuous motion. 8. Keep the vocabulary load down . . . grind a bit at a time. From: Garcia, Ramiro. (2001). Instructor’s Notebook: How to apply TPR for best results(4th edition). Sky Oaks Productions, Inc., P.O.Box 1102, Los Gatos, CA 95031.

Useful vocabulary for beginning TPR Verbs Adjectives/Adverbs Nouns stand up lower wave fast (to the) below/under in body parts sit down take draw slow left backwards on classroom objects turn around clap write ___ times right forwards next parts of the room lay/place open jump high front side-ways to colors lift/raise shut point to low back above/over numbers (hand, etc.) Sample TPR Sequences TPR Sequence: Solar System TPR Sequence All students will have a picture of an 1. Stand up animal. 2. Touch the floor 1. Stand up 3. Touch your feet 2. Put your hand on your nose. 4. Touch your knees 3. Put your hand on your mouth. 5. Touch the sky 4. Put your hand on your head. 6. Turn around 5. Sit down. 7. Jump three times 6. Put your right hand on your head. 8. Point to the Sun 7. Put your left hand on your head. 9. Point to Uranus 8. Stand up. 10. Show me big 9. Put your hand on your nose. 11. Point to Jupiter 10 Put your hand on your head. 12. Show me small 11 Sit down 13. Point to a planet with many moons 12. Put your left hand and your right hand on your head. 14. Point to a planet without moons 13. Put your hand on your animal. 15. Point to a planet with rings 14. Put your animal on your head. 16. Point to a planet that has 2 moons 15 Put your animal on your nose. 17. Point to our planet 16. Put your left hand on your animal. 18. Sit down, etc. etc. etc. 17. Put your animal on the desk (table). Rebecca Asbeck 18. Put your right hand on your animal. 19. Make the sound of a dog. 21. Stand up etc, etc. etc. Judy Kacmarcik

Young Learners Workshop, Tbilisi, Georgia , Helena Curtain Ph.D., [email protected], Page 14 Stories with Gestures Source: Curtain, Helena and Carol Ann Dahlberg. (2010) Languages and Children Making the Match, 4th Ed. Boston: Pearson Allyn & Bacon.

Total Physical Response Storytelling (TPRS) is an approach to combining language with actions and story. It was introduced by California teacher Blaine Ray in 1990, as a way to motivate his high school Spanish students and help them succeed. Based on TPR and the Natural Approach, TPRS embeds new vocabulary and structures as functional chunks in a story line and provides extensive listening practice before students are expected to speak. Since its introduction TPRS has undergone many variations, as teachers have adapted it to their own philosophies and practice. Most recently, it has morphed into new terminology and a somewhat different approach: Teaching Proficiency through Reading and Storytelling. Among the many variations, the authors find the approach of Janet Glass to be especially appealing. For clarity, we will call this variation “Stories with Gestures.” Glass notes that her stories are always embedded in a thematic unit with a cultural focus, and she never finds it necessary to use translation. One of her favorites is from her unit “The Llama’s Secret,” based on the book El secreto de la llama by Argentina Palacios, a Peruvian flood story (now out of print). In this story, a llama, our hero, can suddenly speak. It warns the people and animals that there will be a big flood. He saves them by leading them to the highest peak in the Andes Mountains. After five days, the flood waters subside, and the llama never speaks again Like Janet Glass, teachers can devise their own stories and illustrations based on the following model and examples from the Internet.

Storytelling Step 1 Step 1 in the process is to identify the key vocabulary in the story, draw or find pictures, and assign a motion for each item. For a folktale or fairy tale, it is best to break the story into short segments and present them one at a time. Each of the segments should function as a mini-story, with a clear beginning, middle, and end, in order to sustain interest. Then teach a few items from the first segment using variations of TPR. For example, the key vocabulary for the first segment of Janet’s story might be as follows: niño (boy) miedo (afraid) ve (see) corre (run) pico (mountain agua (water) sube (rises) peak) At first, students just listen as a new word is presented. Then they practice the motions with the teacher. Next, they respond as the teacher combines the vocabulary words in a variety of ways, creating a variety of sentences or questions, such as, “The water rises and rises. When it rains, does water go up or down? Birds go up and down. In this classroom, do you go up or down? What else goes up and down? The boy is afraid. Are the fish afraid? Is the boy’s father afraid? Are you afraid? Who else is afraid?” And so on. One of the means of checking understanding is to have students do the motions with their eyes closed. Storytelling Step 2 In step 2, students work in pairs to say or read the vocabulary words to each other and see whether or not they can do the actions. Then the process can be reversed, and the students do the actions for each other to prompt the words. Steps 1 and 2 can be repeated until all the key vocabulary has been introduced with actions and with many opportunities to practice various combinations of words. Storytelling Step 3 Step 3 is to use the vocabulary in a story. The teacher can use pictures, puppets, or student actors to tell a mini-story using the key vocabulary words. A mini-story for this set of vocabulary follows: 1. Hay un niño. There is a boy. 4. El niño tiene miedo. The boy is afraid. 2. Hay agua. There is water. 5. Ve un pico. He sees a mountain peak. 3. El agua sube y sube. The water rises & 6. El niño corre. The boy runs. rises.

The teacher retells the story several times while students do the gestures, embellishing it in different ways each time, but the basic story stays the same. Each telling should provide an opportunity for students Young Learners Workshop, Tbilisi, Georgia , Helena Curtain Ph.D., [email protected], Page 15 to participate and for the teacher to check for understanding: The students provide gestures; the teacher leaves pauses for students to fill in words; the teacher makes mistakes and the students correct them; the teacher uses yes–no and either–or questions as the story progresses (e.g., “Is the boy running or swimming?”). Storytelling Step 4 Step 4, after many retellings by the teacher, is for students to practice retelling the story to each other in partner practice. At this point, the teacher may want to elicit student volunteers to tell the story, or a variation of it, to the class. Other students may act out the story in front of the class as their peers narrate it. In some classes, the teacher may wish to have students write out the story, perhaps first as a copying exercise. Storytelling Step 5 The mini-story is revised in Step 5. The teacher may want to cover up the last frame of the story and ask the students to come up with their own new ending, or have students retell the story, adding new characters and/or new vocabulary. Other possibilities are for the teacher to present a revised story as a model, or for teacher and students together to experiment with revisions. The waters can rise and the boy sees a boat instead of a mountain peak, or he’s not afraid and he swims instead. Anything is possible. The teacher might also help students to revise the story so that it is told in the first person: “I am walking.” “I see the water rising.” And so on. Students then work in pairs to create their own revisions, which are then presented to the class or written and illustrated for a portfolio or a class book. For the story of El secreto de la llama, additional segments would be taught as separate stories, creating a kind of soap opera effect. As a culminating activity, the entire legend could be presented and dramatized, an example of presentational communication. Total Physical Response Storytelling clearly moves students from the interpersonal mode of communication into a limited experience with presentational communication, both oral and written. Students build both vocabulary and structure resources that are readily available for future use. Janet Glass is enthusiastic about this approach: “One thing I know from experience—the students remember it long term. I think it's the simultaneous combination of seeing the pictures, hearing the words, doing the gestures, having the repetition, and enjoying the story. They really like making one up with slight variations and sharing them. This gives them a lot of chances to hear and speak the language.” For a complete monarch butterfly unit incorporating Storytelling with Gestures, go to http://senoraglass.com/wlo/monarch/page6.php.

Young Learners Workshop, Tbilisi, Georgia , Helena Curtain Ph.D., [email protected], Page 16

Load more

  16

Copy Link