*What are the goals of teachers who use the Community Language Learning Method?
#answer: teachers who use the Community Language Learning Method want their students to learn how to use the target language communicatively.
*What is the role of the teacher? What is the role of the students?
#answer : the teacher's initial role is primarily that of counselor. This does not mean that the teacher is a therapist, or that the teacher does no teaching. Rather, it means that the teacher recognizes how threatening a new learning situations can be for adult learners, so he skillfully understands and supports his students in their struggle to master the target language. Initially the learners are very dependent upon the teacher. It is recognized, however, that as the learners continue to study, they become increasingly independent.
*What are some characteristics of the teaching/learning process?
#answer : in a beginning class, which is what we observed, students typically have a conversation using their native language. the teacher helps them express what they want to say by giving them the target language translation in chunks. These chunks are recorded,and when they are replayed, it sounds like a fairly fluid conversation. Later, a transcript is made of the conversation, and native language equivalents arewritten beneath the target language words. The transcription of the conversation becomes a 'text' with which students work.
*What is the nature of student-teacher interaction? What is the nature of student-student action?
#answer: the nature of student-teacher interaction in the community language learning method cahnges the lesson and over time. As Rardin and Tranel (1988) have observed, the Community Language Learning Method is neither student-centered, nor teacher-centered, but rather teacher-student-centered, with both being decision-makers in the class.
*How are the feeling of the students dealt with?
#answer: responding to the students feelings is considered very important in Counseling-Learning. One regular activity is inviting students to comment on how they feel. The teacher listens and responds to each comment carefully. By showing students he understands how they feel, the teacher can help them overcome negative feelings that might otherwise block their learning.
*How is language viewed? How is culture viewed?
#answer: language is for communication. Curran writes that 'learning is persons', meaning that both teacher and student work at building trust in one another and the learning process. Curran also believes that language becomes the means for developing creative and critical thinking.
*What areas of language are emphasized? What language skills are emphasized?
#answer:particular grammar points, pronunciation patterns, and vocabulary are worked with, based on the language the students have generated. The most important skills are understanding and speaking the laguage at the beginning, with reinforcement through reading and writing.
*How does the teacher respond to student errors?
#answer: the teacher to repeat correctly what the student has said incorrectly, without calling further attention to the error.
Rabu, 14 April 2010
Jumat, 02 April 2010
The Suggestopedia
The originator of this method, Georgi Lozanov, believes as does Silent Way's Caleb Gattegno, that language learning can occur at a much faster rate than ordinarily transpires. The reason for our inefficiency, Lozanov asserts, is that we set up psychological barriers to learning: We fear that we will be unable to perform, that we will be limited in our ability to learn, that we will fail. One result is that we do not use the full mental powers that we have. According to Lozanov and others, we may be using only five to ten percent of our mental capacity. In order to make better use of our reserved capacity, the limitations we think we have need to be 'desuggested.' The Suggestopedia, the applicationof the study of suggestion to pedagogy, has been developed to help students eliminate the feeling that they cannot be successful or the negative association they may have toward studying and, thus, to help them overccome the barriers to learning. One of the ways the students mental reserves are stimulated is through integration of the fine arts, an important contribution to the method made by Lozanov's colleague Evelyna Gateva.
If you find The Suggestopedia's principles meaningful, you may want to try some of the following techniques or to alter your classroom environment. Even if they do not all appeal to you, there may be some elements you could usefully adapt to your own teaching style.
• Classroom set-up
The challenge for the teacher is to create a classroom environment which is bright and cheerful. This was accomplished in the classroom we visited where the walls were decorated with scenes from a country where the target language is spoken. These conditions are not always possible. However, the teacher should try to provide as positive an environment as possible.
• Peripheral learning
This technique is based upon the idea that we perceive much more in our environment than that to which we consciously attend. It is claimed that, by putting posters containing grammatical information about the target language on the classroom walls, students will absorb the necessary facts effortlessly. The teacher may or may not call attention to the posters. They are changed from time to time to provide grammatical information that is appropriate to what the students are studying.
• Positive suggestion
It is the teacher’s responsibility to orchestrate the suggestive factors in a learning situation, thereby helping students break down the barriers to learning that they bring with them. Teachers can do this through direct and indirect means. Direct suggestion appeals to the students consciousness : a teacher tells students they are going to be successful. But indirect suggestion, which appeals to the students subconscious, is actually the more powerful of the two. For example, indirect suggestion was accomplished in the class we visited through the choice of a dialog entitled, ‘To want to is to be able to.’
• Choose a new identity
The students choose a target language name and a new occupation. As the course continues, the students have an opportunity to develop a whole biography about their fictional selves. For instance, later on they may be asked to talk or write about their fictional hometown, childhood, and family.
• Role play
Students are asked to pretend temporarily that they are someone else and to perform in the target language as if they were that person. They are often asked to create their own lines relevant to the situation. In the lesson we observed, the students were asked to pretend that they were someone else and to introduce themselves as that person.
• First concert (active concert)
The two concerts are components of the receptive phase of the lesson. After the teacher has introduced the story as related in the dialog and has called students attention to some particular grammatical points that arise in it, she reads the dialog in the target language. The students have copies of the dialog in the target language and their native language and refer to it as the teacher is reading. Music is played. After a few minutes, the teacher begins a slow, dramatic readings, synchronized in intonation with the music. The music is classical; the early Romantic period is suggested. The teacher’s voice rises and falls with the music.
• Second concert (passive concert)
In the second phase, the students are asked to put their scripts aside. They simply listen as the teacher reads the dialog at a normal rate of speed. The teacher is seated and reads with musical accompaniment. The content governs the way the teacher reads the script, not the music, which is pre-Classical or Baroque. At the conclusion of this concert, theclass ends for the day.
• Primary activation
This technique and the one that follows are components of the active phase of the lesson. The students playfully reread the target language dialog out loud, as individuals or in groups. In the lesson we observed , three groups of students read parts of the dialog in a particular manner: the first group, sadly; the next, angrily; the last, cheerfully.
• Creative adaptation
The students engage in various activities designed to help them learn the new material and use it spontaneously. Activities particularly recommended for this phase include singing, dancing, dramatizations, and games. The important thing is that the activities are varied and do not allow the students to focus on the form of the linguistic message, just the communicative intent
If you find The Suggestopedia's principles meaningful, you may want to try some of the following techniques or to alter your classroom environment. Even if they do not all appeal to you, there may be some elements you could usefully adapt to your own teaching style.
• Classroom set-up
The challenge for the teacher is to create a classroom environment which is bright and cheerful. This was accomplished in the classroom we visited where the walls were decorated with scenes from a country where the target language is spoken. These conditions are not always possible. However, the teacher should try to provide as positive an environment as possible.
• Peripheral learning
This technique is based upon the idea that we perceive much more in our environment than that to which we consciously attend. It is claimed that, by putting posters containing grammatical information about the target language on the classroom walls, students will absorb the necessary facts effortlessly. The teacher may or may not call attention to the posters. They are changed from time to time to provide grammatical information that is appropriate to what the students are studying.
• Positive suggestion
It is the teacher’s responsibility to orchestrate the suggestive factors in a learning situation, thereby helping students break down the barriers to learning that they bring with them. Teachers can do this through direct and indirect means. Direct suggestion appeals to the students consciousness : a teacher tells students they are going to be successful. But indirect suggestion, which appeals to the students subconscious, is actually the more powerful of the two. For example, indirect suggestion was accomplished in the class we visited through the choice of a dialog entitled, ‘To want to is to be able to.’
• Choose a new identity
The students choose a target language name and a new occupation. As the course continues, the students have an opportunity to develop a whole biography about their fictional selves. For instance, later on they may be asked to talk or write about their fictional hometown, childhood, and family.
• Role play
Students are asked to pretend temporarily that they are someone else and to perform in the target language as if they were that person. They are often asked to create their own lines relevant to the situation. In the lesson we observed, the students were asked to pretend that they were someone else and to introduce themselves as that person.
• First concert (active concert)
The two concerts are components of the receptive phase of the lesson. After the teacher has introduced the story as related in the dialog and has called students attention to some particular grammatical points that arise in it, she reads the dialog in the target language. The students have copies of the dialog in the target language and their native language and refer to it as the teacher is reading. Music is played. After a few minutes, the teacher begins a slow, dramatic readings, synchronized in intonation with the music. The music is classical; the early Romantic period is suggested. The teacher’s voice rises and falls with the music.
• Second concert (passive concert)
In the second phase, the students are asked to put their scripts aside. They simply listen as the teacher reads the dialog at a normal rate of speed. The teacher is seated and reads with musical accompaniment. The content governs the way the teacher reads the script, not the music, which is pre-Classical or Baroque. At the conclusion of this concert, theclass ends for the day.
• Primary activation
This technique and the one that follows are components of the active phase of the lesson. The students playfully reread the target language dialog out loud, as individuals or in groups. In the lesson we observed , three groups of students read parts of the dialog in a particular manner: the first group, sadly; the next, angrily; the last, cheerfully.
• Creative adaptation
The students engage in various activities designed to help them learn the new material and use it spontaneously. Activities particularly recommended for this phase include singing, dancing, dramatizations, and games. The important thing is that the activities are varied and do not allow the students to focus on the form of the linguistic message, just the communicative intent
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