Teaching English through has been something that I have been playing with for quite some time now and it started in the most selfish of ways, namely, I simply wanted to bring my favourite things to class. You know, have these beautiful Georgia O’Keeffee’s skyscrapers hanging by the whiteboard or practising prepositions of place not with the description of the classroom but of everyone and everything in one of the Chagall’s villages. My favourite things, nothing else.
I wanted and I did. Only once I started (and once I started to read about it, to research it, to experiment with the younger and the older, and to read even more and to reflect), I realised that there is a lot more to it, for me and for my students.
Somehow, once you start, it is difficult to stop because new ideas and new projects emerge and there is a lot to write about. This is not my first blog post about combining Art and EFL so if you interested, please have a look here (How to see a city through Art), here (How to hear Stravinsky, although the format can be adapted to any piece of music) and here (How to read storybook illustrations, a lesson not for kids) or here (if you are interested in using realistic and not realistic visuals with children).
With this post, I have decided to take a more organised approach to teaching English through Art, going a little back to the basics, to tell you why you might even want to think about it.
A bit about me and my background
My name is Anka, I am a teacher of English as a foreign language but I am also interested in Art. My first degree is in History and as a part of that adventure many years ago I did have a privilege in taking two terms of History of Art with one of the most amazing teachers ever but I still consider myself only ‘a human interested in the visual arts’, not a professional.
First and foremost I am a teacher of a foreign language and the main aim is always teaching them vocabulary and grammar, the four language skills development and, sometimes, exam preparation. However, I do believe, that there is always room for a bit of Art, here and there, smuggled, hidden and used to develop the language skills.
At the moment, I am taking part in three different projects which, to some extent, involve Art Etc.
my regular classes at BKC IH Moscow, classes which have a clear focus, a curriculum, a coursebook in which I use Art Etc to supplement what we do, for variation
my Art Explorers lessons, a bonus, free-of-charge once a month class for the students of our branch, a project that we are launching only this month
Kids in the Avant-Garde, a cooperation between BKC IH Moscow, Fun Art Kids and the Multimedia Art Museum in Moscow, which gives the kids a chance to express themselves creatively in a variety of ways.
In the long-run, I would like to share here some ideas and activities which we used in all of these projects, but before we get there, here are some of the reasons why including Art in the EFL lessons is a good idea. Let’s go.
The alphabet book based on the animals from the paintings at the Tretyakov Gallery
Teaching English Through Art: all the reasons why you should at least consider it (in a rather random order)
Paintings used in regular EFL lessons as flashcards to introduce or to practise the language are a wonderful tool and a source of variety, to compliment the drawings, cartoons, illustrations and photographs. They will be especially appropriate while teaching animals, clothes, transport, activities, food, the city or the natural world.
Using painting also means exposing children to different styles in Art will help develop their visual literacy skills, even without any special lessons on the theory or the artists’ biographies.
Teaching English through Art with younger children, preschoolers or primary, usually involves some creative activity. This gives the children an opportunity to interact and to experiment with a variety of artistic materials such as paints, watercolours, crayons, fingerpaints and techqniues, for example collage, prints, scratch art and so on.
Kids, of the age, are learning to make decisions, choosing their own composition, lines and colours, not only attempting to become a five or a fourteen-year-old Walhor, Mashkov, Goncharova or Rousseau but personalising it and owning it every step of the way.
Since this creative activity is only an add-on in the regular English classes, it might help children discover a talent and interest in the artistic world, something that might not become obvious otherwise.
Just like any content-and-language-integrated lessons (CLIL), also the Art lessons give the students an opportunity to use the language to access other subjects and areas of knowledge and, especially in the case of the older learners, to see the real purpose of learning a foreign language
Interacting with the world art can be a springboard to discussions which generally generate a lot of language for the students, in relation with their level of English. Since ‘all ideas are good ideas’ (one of the mottos of our classes) and since all interpretations are welcome, students feel free to express themselves and to share what they think.
Art lessons especially lend themselves to learning and practising the language of expressing and asking for opinion, agreeing and disagreeing, talking about associations, possibilities and hypothesis.
Somehow (and this bit is really beyond me) during the Art lessons students, juniors and teens alike, are more likely to use the beautiful English. All of a sudden they realise that there are other adjectives than ‘beautiful’, ‘nice’ or ‘interesting’ and so the language they produce is of a much higher quality than what they normally during the conversations about the everyday topics.
Art can supplement lessons on practically any topic and they will help to ensure that the curriculum and the programme is diverse and engaging.
All of these are simply my reflections based on what I have observed in class. The real research will follow.
If you are interested you can continue reading here:
7 Amazing Benefits of Art for Kids That You Might Not Know Of from the artfulparent.com
Bonus titles: lots and lots of resource books – in the photos accompanying this post.
There is more to come!
Happy Teaching!
P.S. A request!
It is very simple.
I would like to know a tiny little bit more about my readers. There are so many of you, popping in here, again and again, and the numbers of visitors and visits are going up and make my heart sweel with joy. But I realised I don’t know anything about my readers and I would love to know, a tiny little bit more.
Well, well, well, this is officially my post #100 on the blog and I am in the mood for celebrating. That might take the form of sharing some random numbers (8,280 visits and 5,563 visitors over a year and a half (and mind you, I have NO IDEA WHATSOEVER if it is ‘impressive’, ‘not so good at all’ or just ‘why even bring it up?!’) and pondering over the fact that these have been my 5 most popular posts:
Which means that there is some interest in teaching pre-schoolers, using visuals in class and that Pasha, the invisible student, has become a bit more real, overall.
Apart from that, however, I would also like to take this opportunity to share with you my top 10 wordwall activities that I use with my primary and pre-primary students.
Disclaimer: Wordwall is amazing, no doubt about that, but it is still only a resource, a material. Its main aim is to provide opportunities for the students to produce the language. For that reason, in all of the games (for the lack of a better word) described below there will be always a differentiation between the material (the actual tool created with wordwall formats) and the activity (how we use it in class).
Activity: Kids take turns to ask everyone the key question using the cue on the card. All the students in the group answer. The same pattern can be used with any question ie Do you like…? Can you…? Have you got…?
Works well with: primary (they can attempt working in pairs and taking turns to ask a question to their partner only) and pre-primary, individual and groups
Activity: Kids play in teams, ask for the box to be open, produce a sentence (or sentences about the picture), win the number of points. The game about seasons is a very simple one, for preschoolers, the one such as this one here, about animals, can generate a lot more language, also with preschoolers and, of course, a lot more with primary.
Works well with: primary and pre-primary (with pre-primary we play T vs the whole class), groups and individial (we play T vs the student).
Activity: Kids play in teams, team A asks the question ‘What’s this?’, team B tries to answer. Afterwards the teacher flips the card to check. Depending on the vocabulary kids then say whether they like it or not or try to describe, too.
Works well with: pre-primary, individual and groups, it might be a bit under-challenging for the primary students
Which one is correct? Spelling
Materials: Flashcards, double-sided, with visuals and correct and incorrect spelling of the word Places in the city or a quiz with a similar idea, for example this oneSuperminds 5, Read andchoose
Activities: Kids read both versions and choose the correct one. With the flashcards the teacher is flipping the cards back and forth, I use it mostly with my 1-1s. With groups the quiz version works better and it can turn into a proper quiz, with the kids writing the answers down.
Activities: Kids work in pairs, one student in each pair has to sit with their back to the TV/ interactive whiteboard, the other is looking at the board. T keeps dealing the cards. The student looking at the screen has to describe the word for their partner to guess. After a certain number of rounds they change. The cards usually have the words on them, too, so it works well with mixed ability groups.
Works well with: primary and teens. I have only tried it with groups.
Activity: We use the cards or the matching activity to sing the song, slowly, with pauses, to practise and to revise before the actual video / track. The set such as the one for the ‘As quiet as a mouse’ can be used to start creating own versions of the song as kids have only the animals and they can (if they are ready) to come up with their own adjectives.
Works well with: primary and pre-primary, individual and groups.
Story / video comprehension check
Materials: Match to accompany Peppa Pig ‘Fruit Day’ or a quiz to accompany Peppa Pig ‘George is ill’
Activities: We normally learn the vocabulary, get ready for watching the video and then watch it. The games described here are used to check comprehension. The quiz is read by the teacher and the kids answer ‘Yes’ and ‘No’ and correct the incorrect sentences (unless I use the same story with primary who can read it themselves). The matching activity is always accompanied by a structure. It can be a simple ‘Apples are for George’ or a more comples ‘George would like apples’.
Works well with: primary and pre-primary, individual or groups.
Activities: The game itself is usually set for homework. We check it together, whole class. Afterwards the kids are divided into pairs and they test each other, for example Student A says: I am going to the supermarket’, student B has to recreate the second half of the sentence. To help the kids a bit, I put up some key words (ie places and main verbs) on the board. The kids change after a few rounds.
Activities: Kids work in pairs and the kids interview each other, reading the questions or prompts of the computer / TV / interactive whiteboard. Afterwards they swap.
Works well with: primary and teens, individual and groups
Activities: Kids look at the cards and listen to the teacher describing the pictures. If the sentence is correct, they say ‘Yes’, if there is a mistake, they reply with ‘No!’ and correct the mistake. Later on, there is a lot of potential for the kids to take turns to lead the game. The older students can work in pairs, too, while looking at the screen / the interactive whiteboard / the TV.
Works well with: primary and pre-primary, individual and groups.
If you are looking for inspiration or ready activity, you can find my profile (Azapart) there. I share all of my activities so there is plenty to choose from, especially if you work with Playway to English and Superminds.
Here you will also find Part 2 of this post and even more ideas for using Wordwall games in your YL classes.
Happy teaching!
P.S. A request!
It is very simple.
I would like to know a tiny little bit more about my readers. There are so many of you, popping in here, again and again, and the numbers of visitors and visits are going up and make my heart sweel with joy. But I realised I don’t know anything about my readers and I would love to know, a tiny little bit more.
Here is a pumpkin flower: simple and unexpectedly beautiful, just like this game.
Ingredients
A piece of paper and something to write with
For younger students – somewhere to keep the paper safe and secret i.e. inside a coursebook
Imagination
The whiteboard to put the target language on
Procedures
Kids work individually, keeping their cards secret from their friends but if the game is played for the first time, they can work in pairs, this will be their natural support and the source of creativity because two heads are better than one.
Teacher ask the students to write numbers from 1 to 5, in a column. When they are ready, teacher asks the kids to write 5 words, one at number 1, one at number 2, etc. Teacher monitors and prepares her/his own set to use in modelling. It might be also a good idea to write a few examples on the board although these are just for modelling and they will not be used in the real game. The target structures should also be displayed on the board.
Teacher demonstrates how to play the game – she / he describes the first word on her / his list for the whole class to guess. It might be necessary to play a few rounds with the whole class, with the teacher leading the game or with one of the strongest students leading the game.
The game can be played until all the words are described and guess OR for as long as there is time.
Important: It is absolutely necessary to carefully combine the vocabulary and the target structure to make sure that the set is used naturally and that it matches the context, too. Some of the examples of the activities we used below
Places in the city (ie bank, post office, school) + I can see…I can hear…I can smell…Where am I?
Professions + I am going to work, I am going to do…Who am I?
Animals + It is big / small, It can run / fly / swim, It has got…
Body parts + I need it / them when I write, swim, play
Objects + passive voice ie It is made of…, It is used for…
Personal characteristics + Present Simple, 3rd singular, This person always does something, This person never does something
Why we like it
The biggest advantage of the game is that it can be adapted to almost any set of vocabulary and any structure.
It can be used with the lower-level and the higher-level groups, with the younger and the older students.
The game requires no preparation for the teacher and it is SS-generated which means that it is personalised and motivating for the kids to play.
It is a perfect controlled practice activity as the kids are using the target langauge and the target vocabulary.
It is a guessing game and because of that it is both achievable and challenging.
With the younger kids we play the game of 5, with the older ones we usually prepare 10 words.
Or about my favourite resource in this academic year, hands down.
Ingredients
A notebook for each student and a box to keep all the class notebooks. These notebooks don’t travel home, they live in the classroom.
Some writing materials: pencils, markers, crayons.
Why we love it
For all of the students in all the groups where I introduced notebooks (and that’s everybody, pre-primary, primary, juniors and teens, apart from my pre-primary level 1 and 2, who are still only 3 and 4 years old, they are going to get theirs a bit later in the year), this has become a surprisingly wonderful way to express their personality and to become even more present in the classroom. When I gave these out, many of my students of all ages were inquiring what they should write on the front page or on the cover page. I suppose it is because there might be some specific regulations at their schools regarding what needs to be and what can be written there. When I just shrugged my arms and said ‘I have no idea. It is your notebook. Write what you want‘, many of them looked at me in disbelief and then started to write some elaborate names in Russian or some made-up names and nicknames or just their names, in a variety of fonts and styles.
Equally, the format of the note-taking is highly personalised, too. There are certain activities that we use these notes for (see below) and sometimes they involve a structure or a format which is the same to everyone but, at the same time, the kids are in charge as regards the choice of the writing materials, colours or the ratio between text and the drawings.
It is the students’ personal space in the classroom, too. We share what we have written but I hardly ever look into those notes, unless they ask me to or unless they need help with some vocabulary or structures. Since this is a new project and since I am just developing it and discovering its potential and its potholes, I have just realised that I will have to include some kind of delayed error correction in the process, for instance by reading the entries and contributions to fish out some of the spelling or grammar mistakes.
It give the students an opportunity to write and to read more.
It is an opportunity to keep all the notes and all the ideas in one place and to go back to them, to review, to remember, to reminisce or to recycle.
Notebooks for the high level students (C1) are our way of breaking into the least favourite skills ie writing. After we have finished a receptive skill task such as exam reading and exam listening, we follow it up with a 50-word (plus) summary in the notebooks, steering away from any specific genre or format, just simple note-taking that now compliment our regular ‘What do you think?’ speaking sessions. We go back to these notes in the following lessons, to check whether our views have changed in any way, whether they have developed but also, very importantly, to edit and to improve, when possible.
Notebooks for juniors(B1) have been used in a variety of ways related to the vocabulary we study. First of all, they are the opportunity for the students to reflect on the vocabulary they have learnt. At the end of the unit, we look at all the phrases, structures and words and categorise them. The categorise we use change all the time and have included the following: easy words and difficult words, useful words and not-so-useful words, interesting words and not-so-interesting words and I am hoping to add more to this list. In the future I would also like the kids to use their own categories in the future. This kind of an activity also involves a discussion and sharing the rationale for our choices (and that is my favourite part of the whole activity). We use the notebooks also to work on the additional vocabulary, not included in the coursebook but still worth knowing. Sometimes we create the lists ourselves (ie while describing the objects, we also revised a list of materials) or we work on the lists that I prepare (ie a few weather idioms that we discussed while going through the topic of ‘extreme weather’). Last but not least, this is also where we take note of the emergent language, in the section at the end of the notebook called ‘Our special words’. I keep track of these on the whiteboard (the left margin) but I encourage the students to take a note of these (or some of these) in their notebooks.
Notebooks for primary (A2) are probably the most multi-functional among all the age groups. First of all, we use them to complete our portfolio tasks that are included in our coursebooks, one task for every two units. For these, each student gets a pre-prepared template, a notebook-page size, which they glue in and then use for whichever task we have such as the personal file (used in an interview) or the list of the adjectives to describe animals (used later in Our Big Animal Quiz) and so on. We use it also to personalise the vocabulary that we learn, for example after we have learnt the jungle vocabulary, the kids were asked to arrange all the new words in the order of their own preference, number 1 being their favourite word, number 9 being their least favourite. As with the older students, we later talked about the reasons for our arrangements. Last but not least, we use the notebooks to prepare for any student-generatedgames that we play. They are especially useful in all the guessing games and are much better than any small cars because the notebooks are not transparent and, because of their format, they help the kids to keep their secret words really secret. You can find out more about this game here.
Notebooks for pre-primary (pre-A1) is a serious step towards developing reading and writing skills. Now, I am not sure whether it is going to fit all the pre-primary classes (because some children are not ready and some programme do not even include any literacy elements) but this is what works for us. My students are 5 and 6 at this point and we have been doing a lot of literacy activities for about a year now. We started relatively early simply because the kids showed interest in the written word and I realised they were ready. We went slowly but with great results and I can safely say that now it is their favourite part of the lesson. Last year we did a lot of writing on the laminated erasable pages, with whiteboard markers, this year we moved on to notebooks. We use the notebooks to copy the words that we learn, in two or three batches, with only four or five words per lesson, not to overwhelm the kids. Kids usually choose to add little drawings to these so our notebooks are slowly becoming picture dictionaries. Our notebooks are also used in pairwork, for example in a survey on the food we like and we don’t like in which the students used a pre-prepared chart (printed, cut out and glued in by the teacher) to interview their partners and to ‘take notes’ in the form of pluses and minues. I found out that the notebooks really help to set-up and to run a pair-work activity. The notebooks are also going to help us to maintain continuity with the longer-term projects such as the reading of a phonics story such as ‘A fat cat on the mat’ by Usborne and all the related activities. They will be completed over a series of lessons but thanks to the notebooks we will be able to get back to them and to revise in a more SS-centred way. Or so I am hoping.
There is no other way of putting it is: it is a proper Notebook Love (or Тетрадка Love) and it is almost ridiculous that such a tiny and irrelevant thing, at RUB 40 a piece (about 50 cents) could have such an impact on our lessons with its potential for creativity, reflection, personalisation…And, mind you, it’s been only two months. Something tells me, the best is yet to come.
Happy teaching!
P.S. Of course I have forgotten to take proper photos in the classroom, of all the cool things in our notebooks. I will try to make up for it, at one point. For now, just some cool notebooks that are kicking about the house.
I did not ask them to write my name here. I feel honoured they decided to include me here))
*) Тетрадка – a dimunitive of the word тетрадь (notebook)
If you don’t have a lot of time, I will give you the answer straight away: the latter.
If you are a teacher who thinks that on entering the classroom, you are going to focus only on teaching a foreign language, then I have to warn you – if you proceed, you might put yourself in danger of getting inspired or getting terribly annoyed because I will do my best to convince you that a teacher of English is also a community leader, and not only in case of the Young Learners groups.
The tiger
Where this post started: Story #1
My pre-school museum group, a lesson on Henri Rousseau and tigers coming out of the shadows, the main craft activity: an orange finger paint handprint and a black marker to help make this handprint look like a tiger. Plus the jungle, the way the kids see it.
When I demonstrate, the kids are curious and, at the same time, disbelieving that I would do just that: splash the orange blob, smear it on the page, dip my hand it in and then press it onto a pristine A4 piece of paper. With a smile.
As soon as they confirm that I want them to do exactly THAT, a little voice on my left says ‘I am not gonnado that‘ (‘Я не буду‘) but, simultaneously, there is a little hand, in front of me, reaching out, to get to be the first one to get dirty. We go one by one, ‘In the paint. Up. Press. Up. Clean’ and all the girls, cautiously get involved. The Я-не-буду is the last one to go but when it is finally her turn and when she has to make a decision (because participation is optional and I have already decided that if the finger paints are a no-go, there are crayons as the plan B), she is still thinking but she is also pulling up her sleve and reaching out.
Why? Because by now, she has seen it happen five times (one teacher and four friends, because at this point, they are already friends, although it is only the sixth lesson together) and this gave her the courage she needed and the courage she could not find in herself. ‘In the paint. Up. Press. Up. Clean!’
Kind of Halloween
Where this post started: Story #2
My primary kids, a week when we have a trial student in two lessons. The new student is a perfect example of a square peg in a round hole – younger, quieter, not confirmed level of English yet (sigh) and, of course, not familiar with the kids, the teacher or the routine. Or our silly jokes. He stands out, this boy. I support him, of course, and lead him through the lesson but I also am totally engrossed in observing the group. Because, oh my god, it is a show.
Or maybe it is not a show at all. Or the most boring kind of a show. Because nothing happens, the group just accepts him. If you watch closely enough, you can spot an eyebrow raised, here and there (he really does stand out), but other than that – nothing.
My group, they are just regular kids. I mean, they are amazing, every single one of them but not your typical ‘little angels’. These are creative, very loud, with their own opinions and ideas (which they absolutely MUST share) and, as it turns out, they are also very open-minded. Each of them individually and as a group.
Open-minded to decide, without any negotiations or prompts from the teacher, that this new student (even though he is as if from another story) is there for a reason (although they don’t know it) and since he is, he will be included and taken for ‘one of us’ as much as it is possible. I am proud of them.
Post-test feedback
Where this post started: Story #3
My teens and just a regular lesson but because the other two stories happened in the same week, I am observing these ones, too, with more attention to the group vibe. They are great, too! In a teen way.
Simultaneously, they support each other and they mock each other. They applaud when someone does something special or when someone does ‘something special’, genuine praise and gentle mockery. It is a lovely moment, every single time. They do not forget to roll their eyes every time I ask them to move around and to regroup and sit with someone who is not their bestie but they do it, and they do work together, in any random set-up. They pick up different phrases from each other so now everyone says ‘Вкусняшка‘ (‘Yummy’) in the most sarcastic of ways when I announce a test or a serious task for homework. And they, too, feel comfortable enough to share ideas and stories about a good day at school or about a bad day at school.
A new approach to the final activity: ‘Let’s create’
How to build a group? Or about the effective EFL group leadership.
Whether it is a brand new group or ‘an old group’ but with a few new members, make sure you create opportunities for them to mingle and work in different combinations, pairs, teams, mini-groups. This will not only create an opportunity for you to observe how they work with different partners (also good: you can find the optimal set-up) but they will be given a chance to work together and make friends or, at least, break the ice and find out that the other person is cool / normal and / or ‘someone like you’ in one way or another.
Think of the class rules. The older students can be involved in creating the class contract, the younger ones get their first set from the teacher since usually their level is too low (unless you want to do it in their L1, which can also be an option). In my classroom (or classrooms), we have had the same set of rules for a few years now, those introduced when the kids were still in the first year of pimary or even in pre-primary: ‘I listen to the teacher’, ‘I sit nicely’, ‘I raise my hand’, ‘Russian is beautiful but I speak English here’, all accompanied by visuals and gestures. Last year, when I primary grew up and became way too talkative, we had to add one more ‘When I speak, people listen. When people speak, I listen’. Again, it is a rule applicable in all the age groups. We only needed to specify that ‘people’ applies to the teacher and the kids (yes, it was all on the first poster, a list of the names of those who match the definition of ‘people’ here:-)
Play games. Again, these are great for many different linguistic reasons (language practice, introduction, revision etc) but it is also one of the elements that helps the group gel. First of all, on a large scale, because these games will be a part of our pool of games and they will contribute to creating the traditions of our community (see below). Second of all, because they will give the teams a common goal for a part of a lesson and the battle to win it will be another unifying element
Make sure you include something to balance the competitive element. A huge part of the games that we play in class promote competition. While this is good, because it motivates the students to participate and, it helps them learn to win and to lose, it is also good to remember that the kids will need an opportunity to be involved in activities that promote cooperation and collaboration. We don’t always need to split into winners and losers (especially not when pre-schoolers are involved). Some games can be played over a series of lessons, in the same teams, accumulating the points over the entire month. Plus, even if the game is competitive and we have a winner (or winners) and non-winners, the easiest thing to do is to encourage the kids to shake hands and congratulate each other. ‘Good game!’
Celebrate. Sure, we are going to have a Halloween Lesson or a Christmas Lesson because these are the part of the culture that we expose our students, too, but again, they will go towards the things we do together. We have the tradition of ‘the food for the brain’ aka something sweet on the test day, ‘the pizza day’ at the end of the academic year and random ‘eating together’ with my youngest students, on random days when fancy takes us, celebrating nothing special. So that takes us to the other point, closely connected with celebrations and that is Food. (Caution: there are a few ground rules here, though: parents pre-approved food, paper plates, tissues and hands washed).
Create and cherish the group’s traditions, the official ones like the tests and the follow-up reports, the serious ones like ‘the pizza day’ or the silly and the seemingly insignificant ones, like the first activity of the lesson and the last activity of the lesson, keeping the notebooks, a lesson with parents once in a while, a long-term craft project…It might be easier with the younger kids because we are more used to the idea of a routine framework that we follow from lesson to lesson but it is something that is worth keeping an eye on, developing and celebrating with primary and teenagers.
Befair. It is quite likely that a teacher will have her/his favourite and her / his less favourite students. That’s life but it can never show. Everyone is treated in the same way, with the same level of kindness, with the same amount of individual attention and praise.
Bethe modelofbehaviour, not only the model of English because the students pick up on that, without us realising that it is happening. I had my own moment of revelation when I started asking the kids to take turns in being the teacher in the homework check. ‘I don’t know. I didn’t do my homework’, said one of the students. ‘It’s ok. We can do it together now. Exercise 2, number 3? Can you try?’, said the student-teacher on the day. ‘Wow!’, I thought, ‘Where did they get that….Oh.’
Letthem take over, in some areas at least, from time to time. That will be beneficial for the language production (We want more!:-) but it will also help them become responsible for the lesson as they participate in the decision making process and for the classroom, too. A few years ago I had a pleasure of taking part in a wonderful session by Katherine Bilsborough ‘More Democracy in the Classroom’ which highlighted ten areas in which students can be given the opportunity to have a say and since then I have been incorportating them in my lessons, with all age groups. One day, I will get down to writing a post on that, too.
Befriend the parents because they are a very important element of the YL group. ‘Befriend’ here translates as: keep them on the loop, inform, explain, give feedback, ask for feedback, share the aims…
Ask for the kids’ opinion, not only about the content of the lesson but also about the lesson, the coursebook, the activities, the test…This will be the valuable feedback that will help you improve the experience for everyone but you will also show the students that their views matter.
Breathe! Rome was not built in a day and creating a community will also take time. But it is definitely worth it!
I am a trainer and an assistant director of studies. I spend a relatively large part of my professional life sitting in the back of classrooms, observing. I love it.
Not that anyone asked (hahaha, here is one clumsy blogger, at your service. After all, one should start with ‘Many of you have been asking me…’ or ‘I’ve received many questions about…’ I DID NOT) but if I were to give one piece of advice to all the YL and VYL teachers (or maybe not only to them), it would be this: BREATHE.
If I were given a chance to use more words, I would say:
‘Breathe! Pause! Calm down! We care about the efficient use of the lesson time but nobody is in a hurry, nobody is rushing to catch a train. There is time. You will be doing a great service to yourself and to your kids. I promise. Inhale. Exhale. Repeat!’
What do I mean? Here are five ideas.
Instructions
Going slow is absolutely crucial while giving instructions.
Not always but frequently enough our primary and pre-primary students will be doing something in class for the first time in their lives, without any metaphors whatsoever. It is quite likely that we, the teachers are the first ones to introduce a boardgame to them, a role-play, a game with a dice, a pair-work activity, a mingle, the game of pelmanism or a project. Our students might behave like they have never done it before because, very often, they really haven’t. Or they haven’t done it in a foreign language to practise vocabulary or grammar. It really IS their first time! Our classroom IS full of Gagarins, Columbuses or Cabrals (or whoever is your favourite First-Timer Metaphor).
That is why the instructions we give have to be not only graded and accompanied by gestures and (ideally) by modelling but also paced. With the teacher taking baby steps, pausing (and breathing) for all the students to catch up. Before anyone is allowed to take the next step forward.
Taking this one breath in-between the sentences will really make a huge difference. Let’s breathe then!
A listening task, as in: anylistening task
Listening tasks for young learners are another example how pausing can make the world go round and in the right way, too. This tiny (and, really, the most insignificant) movement of the teacher’s finger pressing PAUSE on the CD player / the telephone / the computer can be the factor that decides about the activity becoming a success or a failure. Something that amazes me every single time I see it in action.
PAUSE and the kids have a chance to hear what they are supposed to hear, circle what they are supposed to circle and get ready for the next bit. PAUSE and the teacher has a real chance to monitor while in-task. PAUSE and if there have been any glitches, now is the time to fix things and to save the rest of the activity.
DON’T and they miss the first example because they are still not quite sure what they are doing. Then they miss the second example because the breaks between the pieces of the recording are too short and there are no numbers or beeps to help their focus. DON’T and, inevitably, they miss the third one, too, because they missed the previous two and everything becomes just a mesh of sounds. DON’T and you have no chance to monitor or to give feedback, Although, really, it is NOT a mini-test that the kids should pass. It is only an opportunity to develop their listening comprehension skills. It is ok to help, to support and to guide. Unless it is a real test.
So maybe it is a good idea, to pause and to breathe?
Questions and answers
Here is a question: Do you know how long is the average ‘wait time’ aka the time that elapses between the moment a teacher asks a question and the moment a student is expected to answer it?
Well, fasten your seatbelts because it is quite likely that what I am about to tell you will be a bit of a shock.
Apparently, we, teachers wait as long as long as 1.5 seconds at maximum and most of the time even less than that. One second and a half. Which means that we don’t really wait at all. Either student A knows that answer that we want to get and they provide it or they don’t (more likely) and we move on to student B or C until we find what we want or we just answer the question ourselves.
Extending that wait time can have a huge impact on students’ learning, engagement and, possibly, also on their confidence because they will be given a chance and time to rise and shine. And don’t worry. By extending here I mean ‘waiting three (3) seconds‘, not the whole eternity. 3 seconds aka one inhale – exhale set. Breathe!
Just look at the picture first
This particular issue is going to make an entry here for one and very specific reason: our coursebooks and all the materials for YL are full of great visual material which, sadly, is not given all the attention it deserves.
The first question that I often I ask my trainees during the post-observation feedback session while discussing visuals, photographs, cartoons and drawings is: Why not spend more time on talking about the picture? There are so many things that you can do with a picture! (If you are not sure what these are, have a look at the earlier posts, here and here).
Once we establish that these do indeed have a lot of potential that needs to be tapped into, the question arises of how to do it. And this is how we get back to breathing.
Whenever students are shown a new picture, one that they have never seen before, they need to be given time to take it in, with its narration and all the details. It is more important for the younger learners, since their cognitive skills are still developing but it can be beneficial for the learners of all age groups and levels. If you are in doubt, just have a look at how visuals are dealt with during the speaking part of different Cambridge exams, from Movers, through PET to CAE, although with the higher levels it is hidden under the lengthy instructions from the interlocutor during which the candidates are allowed to look at the photographs they are to describe.
Step 1: instructions, Step 2: one deep breath while the kids are getting ready. Thinking time is precious and it extends on all the activities, picture-related or not.
Classroom management
Last but not least, the main destroyer of the peaceful flow of a VYL and YL lesson makes an appearance, too – the unwanted behaviour, in all its shapes and sizes.
The option of ‘doing nothing’ is out of the question, it is the teacher’s job to react but perhaps it is worth considering whether the immediate reaction is the best solution. After all, there might be some situations in which everyone would benefit from the teacher taking a deep breath and using this second or two to calm down, to consider the options and to see the situation from the little people’s point of view? Maybe the situation was not that serious? Maybe it was just a silly joke? Maybe just an unfortunate mistake? Maybe the reaction does not need to involve the headmaster, the parents and the armoured infantry? At least in some cases. This tiny little pause might help establish that. The thinking time for the teacher. And then – back to action!
The tutor sighs, the manager sighs, the teacher sighs. She wonders, too, whether two cases in the last two months already constitute a tendency. Or not yet. And whether she should be so bothered by all that. Or not. The tutor (aka the manager aka the teacher) does not know. She knows that it has been a good few weeks since the most recent incident and so she is writing all these words with a cool head. None of these silly on-the-spot, emotional reactions. At the same time, somehow, it has been impossible to stop thinking about it since.
And so the tutor / the manager / the teacher is here, typing up.
The statement
‘A teacher working with very young learners must have her/his own children.’ (actually, extends to: all the teachers working with children…)
The teacher sighs
I do. Because first and foremost, I am and I have been a teacher. Whenever faced with a comment like the one above, I look very much like this amazing creature in the photo, spotted in the Louisiana swamps: I freeze, waiting to see what happens next. I freeze, trying to remain a professional, an adult and a kind human being. Whilst hoping that all these thoughts forming in my brain never get verbalised.
If I had been a bit braver (or a bit more carefree), I would have asked: ‘Excuse me, have you just told me that I do not have the right to do my job? Don’t. Mostly because it is too late. I already do it. And I do it well, too. Thank you.’
The tutor sighs, too
I do, deeply and gloomily. As a tutor, I would like to ask the world to be a little kinder. To all those newly qualified very young learners teachers and young learners teachers and to all these teachers who are novice in the world of the pre-school and primary EFL. Or to all of these teachers who are only thinking of taking their first steps in the area. It seems that they have a lot on their plate anyway, dealing with the methodology, the materials, the resources, the real children in the classroom and their parents outside the classroom as well as the school admin. They really do not need any more of that ‘entertainment‘ and of wondering they are good enough or not to do the job. Especially before they have had a chance to try and to check.
Some of them might decide that the early years EFL or ESL is not for them and it might be because they do not have children or it maybe because they discover that their vocation lies in one of the other areas. Some of them, however, might grow up to be the next VYL Superhero, the next Sandie Mourao. Or the next Leo Vygotsky. And while they are getting there, they might appreciate a tiny little bit of support. Especially from their more experienced peers. Dear world, please be nice!
The manager sighs, too. But then she gets down to business…
…and she starts digging through the files in her head and on her computer. This particular exercise starts when I am still a bit emotional and so, with a pinch of certain vindictiveness, I take out a piece of paper and I start writing the names down.
Changing anyone’s beliefs is not an easy task and it involves a serious time investment and a lot of effort. What’s more, the satisfactory outcomes cannot always be guaranteed. Some people are simply happier in the box. Their choice, I suppose.
But, if anyone is interested, I am going to share my experience as a manager, someone who for the past nine years has supervised, mentored, trained up, lesson-planned, observed and given feedback, praised and supported teachers of early years, primary and pre-primary. Nine years of that. And counting.
Since this ‘incident’ I have been bombarded by the names of all these amazing professionals, that I have had a chance work with. Some of them were young, some of them were not. Some of them were experienced, some of them were not. Some of them were women, some of them were men. Some of them were mums and dads, many were not.
What they all had in common was the willingness to sit down on the carpet and look at the world from the point of view of a five-year-old (no metaphors here!). What they all had in common was kindness and patience and dedication to their job.
Did I really sit down to write the names of all these mentees and colleagues who taught children and who were great at that despite the fact that at the time they were not parents in their private life?
Yes, I did.
Scribbling on a piece of paper and going back in time, to 2020, 2019, 2018…I stopped at the beginnig of 2016 because I got to the magic number of 100.
And then I smiled.
One hundred fantastic people. One hundred great VYL and YL teachers. One hundred case studies that, perhaps (just perhaps) will turn ‘the statement‘ above into a question, even if a very cautious one. One hundred names that immediately put me in a good mood because they came back and they all brought beautiful memories. For that I am beyond grateful. The end.
Happy teaching!
P.S. Lots and lots and lots of virtual hugs and happy thoughts to all the teachers that I have had a chance to work with over those nine years.
P.P.S. I have also had a chance to work with many teachers who were both: great parents and great teachers of early years. Lots of virtual hugs and happy thoughts to them.
P.P.P.S. I have also had a chance to work with many teachers who were great parents but who would never agree to teach pre-schoolers or primary. Just because they have other intrests in their professional life. Their virtual hugs and happy thoughts are HERE.
Realistic vs non-realistic? Am I am really inside of a huge glass piano?
Preface
A while ago I got into a discussion on why the realistic flashcards aka photographs are much better for YL than the cartoon flashcards.
Oh wait, not quite this way. First (and foremost), as I am typing up this post, I am glancing left and right, for support. To the right, towards the shelf with my storybooks and all the ‘unrealistic’ illustrations and all the imaginary characters and to the left, where the materials for the next Lesson at the Museum are lying (this week: Natalia Goncharova, more of that – soon!). At this point, I still cannot formulate it very well but my guts (and a few years in the classroom and around kids) are telling me that realistic and photographic IS NOT the only way. I object.
Second of all, this discussion, it just was not a discussion at all. I must admit, I am a bit naive when it comes to the social media and I would like to believe that teacher meet there to exchange ideas, to learn from each other, not to preach, making it look like theirs is the only way to do things and recommending that I should do my homework and read first before I voice an opinion (as if the empirical evidence did not matter at all).
Enough of this bitterness, though. Here I am after all, doing my own reading and research, with mixed feelings, if I am to be perfectly honest. A little bit anxious (because what if the research proves that I was wrong, eh? What then? (I am laughing here) and a little bit excited (because what if the research proves that I was right? (still laughing).
This introduction was planned and written before the actual reading did happen but you, dear reader, looking at the title (courtesy of Mr W. Shakespeare of Stratford-upon-Avon), you can guess now where it is all going (based on the research that I have managed to do so far) so if you have very little time on your hands, I will make it easier for you, here is a summary of the whole post:
When it comes to choosing between the visuals with a high degree of iconicity (aka the resemblance between the picture and the object) such as photographs and the visuals with a low degree of iconicity such as cartoons, storybooks illustrations, there isn’t only one answer, one way out, one approach. It is not a case of black and white, good and bad, left or right. It is a beautiful case of ‘well, it all depends’. Done.
Now, if you have more time, follow me. There is more to come.
Realistic vs imaginary: My teacher is a cat.
Act I: Why choose the real photos
The first (and the most important question) to ask here is: How old is the child? A picture is a symbol, a representation of the real object and children will require a certain level of cognitive skills development (such as symbolic development, analogical reasoning, reasoning about fantasy and reality) in order to be able to process that image and to relate it to something that they know from real life.
For example, newborns, who have not become symbols users, when presented with a photographic image and a real object, would always choose the real object over the visuals but, at the same time, if the real object was not present, they would interact with its image in exactly the same way as they would with the real object. These examples come for a truly fascinating article by Gabrielle A. Strouse, Angela Nyhout and Patricia A. Ganea which you can find here.
As shown in other studies they mention, too, it seems that although these young children can transfer the concepts both from cartoons and photographs or realistic drawings to the real world, the more realistic the image the easier the transfer. And for that reason, we find plenty of recommendations for such books to be used with the younger pre-schoolers. This attitude seems to be especially popular according to the Montessori method (although to be honest, I am not very familiar with it, I know it only from reading, not from the classroom, so forgive me for any inaccuracies or faux-pas that I might commit here).
Another interesting argument, and this time applying to not only the youngest children, is how the information presented in the picturebooks might have an impact on children learning about the world. As Strouse (et al) claim, it seems that ‘Fantastical context used in stories may cue children that information presented in books is not transferable to real-world contexts’, especially when the children do not really have any opportunities to connect the book world with the real world because, for example they live in the city and have never been on a farm, or are not supported by adults in their journey through books. The authors claim that it might impact the learning of physics and biology or moral learning. All these arguments would support the use of photographs and realistic cartoons.
Apart from that, there is the obvious argument, applicable both to children, teenagers and adults, alike – we like photographs. According to the professionals such as graphic designers (because this is where this reasearch has taken me, too), photography is used when we strive for accuracy, professionalism and when promoting the object is the real aim. The latter two might not really be relevant to the world of EFL and ESL but the first of them, accuracy is going to be our key word. When presenting vocabulary to children we want them to understand clearly what we mean and a photograph of an elephant will illustrate it better than a drawing of an elephant. We might not only see the tiny little details such as the shade and the texture of the skin but, quite likely, the elephant will be photographed in a natural environment so we will be also able to notice how big it is and what kind of a habitat it lives in. The elephant will most likely be doing something, walking, running, eating or sleeping and this will help us understand a bit more about it. Not to mention that it will also help us produce more language (the secret aim for anything that the English teachers do).
It seems to be especially important in the English lessons while teaching the concepts that students are not familiar with and which they do not encounter in their real life such as the jungle animals (while teaching in Russia), snow (while teaching in Brazil) or Polish pierogi (while teaching outside of Poland). The photographs will help the children understand these concepts better than drawing, although, it has be said that no photographs of snowy landscapes will help you get the real idea of what winter is like unless you have rolled in snow yourself and unless you have actually tried to catch the snowflakes on your tongue. As regards preschoolers, there arises one more question, too – Should we even introduce the concepts, ideas and vocabulary that they are not familiar with in their L1 and in their lives? My personal (and very subjective) answer would be: ‘no’, not in the EFL context, with a limited language exposure and the limited lesson time available. With a very few exceptions, of some cool animals. Perhaps.
Realistic vs illustrations: Two Cookie Monsters
Act II: Why choose illustrations
First and foremost, as children are growing, they develop their cognitive skills and they become better at recognising symbols, using symbols and, last but definitely not least, at creating symbols (here you will find my earlier post devoted to symbolic representation and the EFL with your starter kit). Using illustrations, cartoons and drawing is necessary!
Children are progressively better able not only to distinguish between these and label them as more realistic and a less realistic representations of an animal…
…they might also appreciate the cat on the far right as it is most likely to resemble the cats that they draw in their pictures. And as they are learning to hold a pencil and to produce marks, scribbles, lines and circles, it will be quite a long time before their drawings look like the cat in the middle or anywhere near the cat on the far left. As Bernadette Duffy (see bibliography) says ‘If we intervene with a view that the purpose of art (or, in this case anything that children create (own comments) is to produce an image that is as realistic as possible and therefore think of children as failed artists we may do great harm by imposing inappropriate expectations that do not match children’s developmental stage‘.
Then there are the visual arts and these are full of ‘hurdles’ for a rational mind. Picasso’s faces are far (far far) from realistic. Chagal makes his characters float in the air, as if they were kites (sometimes accompanied by goats). Warhol stubbornly chooses the ‘wrong’ colours and Malevich replaces the whole world with one (amazing) square. And then there is Miro, Bosch, Rothko and many, many, many more. It is, of course, possible to give up on teaching art to such young children, but, before you do, please read why it is a good idea and how it benefits them. For that very reason, all the major galleries and museums include programmes for kids.
As for the graphic designers, among the advantages of the illustrations is the fact that they can be used whenever it is necessary to show the unique features and to stand out, since all the photos of the cat might look the same and the drawings will differ as they will depend more on the artist style, abilities and techniques, when a simple design is needed (for example an icon) and to depict the imaginary.
The last argument seems especially fitting in the world of the early years. Or in the classroom. Children love stories and these feature real children, talking animals and a whole array of imaginary characters such as mermaids, fairies, dragons, dwarves, fish with fingers and children who are going on a bear hunt (something that you should not really be doing in real life, not when you are five and, actually, although this is yet a very personal opinion, never ever ever). This imaginary world is a part of being a child and children do grow out of it, eventually and naturally. Although, still, some of us, even at 40, we like to revisit this world, accompanying Harry Potter to Hogwarts, Frodo to Mordor and Zima Blue in his search of the meaning of life.
Another thing is that, as a material designer for preschoolers (and I am that, too, as all teachers are), I sometimes tend to choose illustrations over photographs specifically because they are simple and easier to colour for my 3- and 4-year-olds and because I want to convey the general meaning of the word ‘bird’, rather than anything specific, for instance ‘a sparrow’
Another reason for choosing the illustrations over more realistic drawings or photographs is that some animals look too realistic and scary. I am one who does not really like touching the spider flashcard (cartoon, but too real and disgustic) and some of my students feel the same way. So, in case of a crocodile, for instance, I might opt for the one on the far right.
Realistic vs imaginary: a class portrait and a teacher of seven fingers (but with amazing eyelashes:-)
Act III: Why do we have to choose? Variety is the answer!
That’s it. A ridiculously short Act III. Nothing more to add. We can and we should use both. Also because the realistic is not always true, either. Have a look at the photo that introduces this post once more: Am I or am I NOT sitting inside of a huge glass piano?
I hope you have enjoyed reading this article as much as I have enjoyed researching for it and that this is definitely not the end.
And a request to you, dear read. All of the sources that I have used directly have been referenced throughout the post. Below you will see some other treasures that you might find interesting. If you have anything else to add to this list – please, let me know in the comments sections.
Two requests, actually – if you have any stories related to children’s reactions to the photographs and visuals used in class, more or less realistic, please share these, too!
Bernadette Duffy, Supporting Creativity and Imagination in the Early Years, Open University Press, Maidenhead
P.S. A request!
It is very simple.
I would like to know a tiny little bit more about my readers. There are so many of you, popping in here, again and again, and the numbers of visitors and visits are going up and make my heart sweel with joy. But I realised I don’t know anything about my readers and I would love to know, a tiny little bit more.
If you are here, dear read, you have probably already read the first part of this post. If not – here it is.
In this part, I would like to share some practical activities to be used in the VYL and YL lessons to practise adjectives, verbs and Present Continous and to get closer to storytelling, even with the very young or the beginner students.
First steps
Tell me about this picture has quickly become one of our favourite games. We use wordwall Boxes for that. Players take turns to open the box and to describe the picture hidden there. If they complete the task successfully, they get the number of points also hidden in the box. The game can be used to practise both adjectives and Present Continous (or any other language) and the students can be asked to produce one, two or three sentences, depending on their skills and the teacher can keep count of the sentences produced using fingers. The best thing about the game is that the children choose themselves what they want to talk about, much as in the YLE Starters, Flyers and Movers.
Here are some of the sets we have used
Animals: I can see a lion. It is big. It is brown. It is beautiful.
Present Continous: It is a girl. She is drinking coffee. She is happy.
Bedrooms: It is a bedroom. It is big. It is beautiful. I like it.
So far, I have only played it with my 1-1 students (player 1: the student, player 2: the teacher) but I am about to start using it with my groups, too (player 1: the class, player 2: the teacher).
Oups is a game in which students look at the picture (any picture) and listen to the sentences produced by the teacher. When they hear a sentence with a mistake, they should say ‘oups!’ and correct the sentence. In the beginning, they normally react only by producing a single word, replacing the incorrect one but later on, when they get used to it, they can produce full sentences. Even later, it is also possible for the students to lead the game and to produce correct or incorrect sentences for everyone else to listen and to react to.
With the youngest students it is better to limit the range of structures used to something super simple, for example ‘I can see…’, with the older (and more advanced ones), the structures can vary.
This activity can be used in class but it is also a great homework task, as long as you share the picture and record a few sentences and share it with parents.
An example can be found below. The picture was generated using makebeliefscomix.com and the recording can be found here.
makebeliefscomix.com
In my picture…: This is a natural follow-up activity, a little bit more complex and a little bit more challenging. It is based on two pictures that are to be compared. They are not quite the actual YLE Movers or Flyers speaking tasks because these are too detailed and they contain the vocabulary that might be beyond the pre-A student’s level.
What you need is basically two pictures that are connected by the theme i.e. farm, kids in the park, in my bedroom etc and a very simple starter phrase, a proper all-rounder such as ‘I can see’. With 1-1 students, it is very straightforward – one picture for the teacher, the other for the student. With groups, the kids will be working as a group, comparing their picture with the teacher’s. At least in the beginning, before they are ready to work in pairs.
Some examples of pictures that can be used:
These are the pictures I ‘created’ using the tools on the Miro board
www.clipart-library.com and www.clipartpanda.com
The next step will be telling stories using a set of pictures…(Please continue reading:-)
One story, many ideas.
Here is one of the YLE Flyers stories (Flyers TESTS REFERECE), called ‘Charlie and the elephant‘ and some of the ways in which it can be used with pre-school and primary students.
‘Advanced’ preschool students
Step 1: look at the pictures and say what you can see. The kids can use very simple structures, for example ‘I can see…’ or some more complex structures, for example ‘It is a…’, ‘She’s got…’, ‘He’s got…’, ‘She is…’, ‘He is…’.
With 1-1 students, the teacher and the child take turns to describe pictures, with groups we all talk each picture, one by one. It might be a good idea to cover up all the pictures and uncover them progressively, to help the children focus only on one of them at a time.
Step 2: look at the pictures, listen and help me. This is basically an advanced version of Oups, the game I described above, only here a series of pictures is used. Here you can find a recording I created for my students.
Step 3: look at the pictures and help me tell the story, Similar but Different. The teacher first models, telling a story that has a similar framework (a woman, a boy, an animal, some fruit, going away, a show at the end) but which uses different details. Later on, the students tell their own version of the story, with the necessary amount of support from the teacher. The teacher can only start the senteces (‘A woman….’) or create almost an entire sentence with the students filling in only the essential details (‘A boy is eating a….’).
These steps were introduced in three consecutive lessons.
Primary beginner Flyers students
Step 1: Two words: students work in pairs. Each pair gets a copy of the story. Kids look at pictures and together write two things they can see in each of them. The teacher also participates in order to be able to model at each stage of the activity. Students exchange the handouts, in a circle. Each pair gets a new handout and the procedure is repeated: each pair writes two words next to each picture but these have to be two new words. The procedure is repeated until each pair writes their words on every handout.
By that point, each picture is accompanied by a set of words (2 words x the number of pairs). Kids look at the pictures and tell the story using the words they can see. They can be encouraged to cross out the words they have used to make sure that all the words have been used.
Step 2: Two crazy words: we start with retelling the story from the previous lesson, as a class. Then, the teacher shows the students the new handout – the familiar pictures but with two strange words next to each of them. The teacher tells them that these are the words you cannot see in any of the pictures and that now the students will tell the story again but including these words.
It is absolutely necessary to generate some ideas, for the first two pictures, for example. I have added ‘a teacher’ and ‘a monster’ for picture 1 and it went more or less like this: ‘Mmmm, a teacher. Maybe mum is a teacher. Maybe the book is about a teacher. Maybe the book is about a monster. Maybe…’ and I let the kids give some more ideas about these two words.
Afterwards, the students work in pairs, taking turns to retell the story with the new words.
If you are interested and if you would like to see the handouts that we used, you can find them here.
Step 3: Our own story: again, we start with retelling a story, together, as a group. Afterwards the teacher goes through the framework of the story, using a powerpoint presentation, highlightling the main ‘events’ of the story, at the same time eliciting ideas from the class. Then the students are given some silent ‘Thinking Time’ (something that we tried for the very first time and that worked like a dream) during which they prepare their story. Afterwards, they are telling their stories to their partners.
Action stories
One of the tools that will come in handy in and that can be used to accompany the activities mentioned above is the action story or the TPR stories promoted by Herbert Puchta (and Gunther Gerngross) in pretty much all of his coursebooks. They have been included in Playway to English, both editions and in Superminds 1 and 2. I have some vague recollections about the old Join Us series, too. There is a separate publication, Do and Understand: 50 Action Stories for Young Learners which they wrote together and which was published in 1996 (wow!) but which still can be found in libraries and on amazon.co.uk.
The idea behind those is that children, even the youngest ones, can be encouraged to listen to a story and to tell a story, using a multi-channel approach: there is a set of pictures to illustrate the main events and each of these comes with a sentence and a gesture.
Students listen to the story, retell the story using the gestures and, later on, also the sentences and they work with the visuals in the coursebook completing such exercises as listen and order the pictures and, in case of the primary students, read and number the sentences.
More ideas to work with pictures and stories on this blog
Forgive the grand name, I must have been in the mood for something like that, now I feel like the general Kutuzov himself.
Initially, I was planning to write a post on all the reasons of using stories in class and perhaps I am going to get down to it, eventually but I want to reasearch it properly so bear with me. It will take some time.
If you have not worked with stories much you can have a look at this post here, to look at the basics of using storybooks in the EFL classroom and here at one of the ways of building a lesson around a coursebook story.
Today, however, I would like to tell you about the behind the scenes work – everything that takes place in my VYL and YL classes to ensure that my kids are ready to tell stories.
makebeliefscomix.com
Why bother?
To take my students from the receptive skills of storytelling towards the productive storytelling skills and in a more extensive way than just listening to the stories we read and which they help to retell
To give them the appropriate tools to enable production (We Want More! (remember?)
To unleash their imagination and creativity, step by step, even in pre-school.
makebeliefscomix.com
Step 1: Teaching adjectives
I wouldn’t want to say that the curriculum and the coursebooks we use with VYL or YL do not contain any adjectives at all. Yes, some of them are included but, in my opinion, there is a lot more potential than just the basic ‘happy, sad, angry’ and ‘big and small’. If you think about it, many coursebooks introduce adjectives only when they deal with comparatives and superlatives and, in my humble opionion, even the very young kids understand at least some of the opposites and they can use them to describe things.
For that very reason, the curriculum can be upgraded by adding:
more emotions: happy, sad, angry, hungry, thirsty, tired, sleepy, not so good, great, good, OK.
more adjectives to describe characters: brave, strong, clever, beautiful, ugly, scared and not scared, fast, slow.
adjectives to describe objects and animals: funny, scary, long, short, old, new, clean and dirty.
It is true that it might not always be easy to depict these accurately but we can easily use the children’s growing ability to deal with symbols and all these concepts can be associated and explained with carefully chosen images.
Here you can find some of the vocabulary sets that I use with my pre-school and primary strudents. A very important note: children are not necessarily expected to memorise all of these and to be able to remember both the word and its written form. We stick to the curriculum as regards the tests and assessment but in our classes we use a lot wider vocabulary range than the coursebook suggests.
Step 2: Teaching verbs and teaching Present Continous
That is another topic or area which, in my opinion, can significantly contribute to the development of our little students’ storytelling skills but, at the same time, the area that has not really been reflected in the coursebooks. Fair enough, the Present Simple might not be the most essential structure to know. It not introduced explicitly in the pre-school coursebooks (to the best of my knowledge) and in primary it is a structure on the YLE Starters list but in the classroom, this one is introduced in year 2 of primary.
At the same time, this is the structure that can be easily introduced and clarified with gestures, a structure that can be used in the classroom, to clarify instructions or to manage the group and a structure that is very (very, very) useful while describing pictures and, later on, describing pictures which form a story, like in the YLE Movers and Flyers.
As for the content, these are some of the verbs that can be added to the curriculum
everyday verbs: get up, eat, drink, brush your teeth, wash your face, get dressed, go to school, go to sleep, play, cook, watch TV, sleep.
hobbies and free-time activities: dance, sing, draw, read, write, ride a bike, listen to music, jump, run, swim.
makebeliefscomix.com
Step 3: Teaching the basic linking words
This is probably the most challenging step as it is the most abstract one and cannot be easily represented with flashcards. At the same time, the three basic linking words: and, but and because can be taught in the context.
These are the ideas that I tend to use with my students
and: introduced as a follow-up of ‘I like / I don’t like’ to talk about our preferences ie ‘I like apples and bananas and cookies’ and it can be used with quite a few sets of vocabulary such as colours, toys, food, animals, pets, etc.
because: introduced when we talk about how we feel. We start with a simple ‘I’m good’, ‘I’m happy’ and then we slowly introduce the linking word ‘I’m happy because it is sunny’. The same applies to all the pictures and photographs we discuss.
In all three cases, the introduction starts with the children being exposed to complex sentences linked with three words and getting used to hearing them. Production comes later on, when they are ready.
makebeliefscomix.com
This is the first part of the post.
In part two I am going to share some of the activites we use in class. It’s half-ready)))
