Author: Pearson

Did You Miss Our Professional Development Series?

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If you missed our two weeks of Professional Development Webinars, no worries. We have recorded every session for your convenience. Just register and login in to watch practical and informative sessions given by experts in the field of English language teaching including Dr. Ken Beatty, Carol Numrich, Christina Cavage, Sarah Lynn, and Tania Pattison just to name a few. Topics ranged from the flipped classroom and teaching with technology to critical thinking and English for academic purposes. Click here to get started!

G is for Games

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Ken BeattyDr. Ken Beatty

“Why are they playing games and not learning something?”

Games are among the most misunderstood pedagogical strategies in the teachers’ toolbox. Parents, other teachers, and administrators can misinterpret students’ enjoyment of games as having fun at the expense of more serious and productive learning. But the opposite is often the case; the casual competitive nature of games suppresses students’ self-consciousness and helps them focus and learn more than during other classroom activities.

However, to be fair, sometimes teachers play games in the classroom without a perfect understanding of the benefits that games carry and the ways in which they can be tailored to better address student needs. In such cases, teachers may only use games as filler activities, as a way of keeping more able students busy while others catch up. Alternatively, games might only be used at the end of a class when there is extra time left.

Motivation

Because games are inherently motivating, they are useful as a reward or a break from other classroom activities. Some games add excitement, such as kinesthetic ones that require students to stand up and participate as a group. An example is Simon Says, in which students have to listen carefully and follow a leader’s directions as long as they are prefaced with the words, “Simon says (touch your nose).” If the words Simon says aren’t said by the leader, students have to remain stationary or find themselves out of the game.

The pedagogical purposes of Simon Says–type games are usually to encourage discrete listening and also to reinforce language students have already learned around actions related to identifying body parts (touch your knees), types of motion (shake your head; close your eyes), and actions (sit down; stand up). As with most games, there are opportunities to tailor the game to the target vocabulary students have recently covered. Reinforcement through a game is important because it stores the information in another part of the brain. Beyond reading, writing, listening, or speaking, the kinesthetic aspect helps make the vocabulary more memorable. Continue reading →

Towards the Critique: Teaching EAP Students to Be Critical

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Tania Pattison PhotoTania Pattison

For EAP (English for Academic Purposes) teachers, it may not be enough these days to teach standard essays and research skills. In order to prepare students adequately for their future studies, EAP teachers at CEFR levels B2 and above need to go further. Recent corpora-based research has shed new light on the genres of writing that our students should expect to encounter in their future studies; for example, in research carried out in the UK, Nesi and Gardner (2012) identified 13 genres that undergraduates could be expected to write; these include essay, case study, narrative recount, and more. One that is common across the disciplines is the critique.

What is a critique?
As Nesi and Gardner put it, “The central purpose of Critiques is to demonstrate and develop understanding of the object of study and the ability to evaluate and/or assess its significance” (2012, p. 94). This could take several forms; depending on their field of study, students may be asked to review books, articles, films, plays, and works of art; they could be asked to evaluate financial data, legislation, government policy, and business operations, or they could be required to analyze critically the results of an experiment, a process, or a system (Nesi & Gardner, 2012). In other words, understanding is not enough; students need to use their critical thinking skills to respond to something they are studying and to express a judgment about its value or usefulness. In the EAP class, the item being subjected to critical analysis is usually a written text.

Learning to be critical
Most EAP students, I have found, are not really clear about what being critical actually entails; many think it has something to do with being negative, and it comes as a bit of a surprise when I tell them that while the word critical often does suggest a negative reaction, critical analysis does not necessarily involve looking for problems within the text. I like to draw students’ attention to people who work as critics of movies, music, restaurants, and so on; these people write reviews that may be positive, negative, or a little of both.

Another thing worth emphasizing to students is that a critique is not an emotional response. Students may be predisposed to disagree with any text that goes against their own personal beliefs, which may have their basis in religion or politics. It is important to emphasize the need to look objectively at the author’s argument and to come to a reasoned analysis, not an emotional outburst. Continue reading →

F is for Frequency

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Ken BeattyDr. Ken Beatty

Here are two key questions related to frequency: What are the most frequent words in the English language? and How frequently do we need to be exposed to new words in order to acquire them?

To answer the first question, certain words in every language appear more often than others. A common list of the most frequent 20 words in English typically includes the, be, and, of, a, in, to, have, to, it, I, that, for, you, he, with, on, do, say, and this.

Many would agree that these 20 words seem extremely common, but any comprehensive list of words tends to be drawn from a selective corpus, or body of words. The selective nature of any corpus influences what words will appear most often. For example, the Cambridge International Corpus replaces some of the above top 20 words with, uh, yeah, know, like, they, so, was, and but. Many teachers would take exception to teaching uh and yeah as among the most important words for their beginner students to learn.

The sources for corpora are often dialect-specific, for example, American English or British English, and may focus on written English or spoken English or a combination. Some corpora only collect words related to particular themes and time periods (e.g., 18th-century novels) or specific genres of speech or writing, such as medical English. Some corpora document dead or obscure forms of English, such as those drawn from Old English, Middle English, and Early English texts.

Scroll to the end of the article for teacher tasks and student tasks.

 

Continue reading →

Maximum Benefit, Minimal Prep:
A Quick Song-Based Lesson

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2013_Heyer_SandraSandra Heyer

Song lyrics are sometimes difficult for English language learners to comprehend; in fact, some song lyrics are difficult for even native speakers of English to comprehend! (Consider, for example, this line from a Credence Clearwater Revival song: There’s a bad moon on the rise, famously misheard as There’s a bathroom on the right.) That doesn’t mean, though, that a song can’t be a valuable learning tool in the classroom. One way to create a successful song-based lesson is to focus on an aspect of the song that is accessible to English language learners and build an activity around that feature. To do that, you start by examining a song’s lyrics to find a feature you can exploit. (For activities that target one aspect of a song, please see the archived articles in this newsletter or my website, Songs and Activities for English Language Learners.)

For the activity described here, there is no need to give a song that level of scrutiny (although, as always, you will want to make sure the language and content are appropriate for your classroom). All you need is a recording of the song and copies of its lyrics. The simplicity of this lesson, however, doesn’t mean that your role as teacher is any less important. You help students identify which new words are critical to getting the gist of the song’s meaning (and which are not), as well as which new words are worth memorizing. This activity works best if students know at least two-thirds of the words in the song.

Create a Minimal-Prep Song-Based Lesson in 4 Easy Steps:

  1. Students listen to a recording of the song without the lyrics. As they listen, they jot down about five words in the song that they are sure they know. (They do not write down words like the or and.) When the recording is finished, students volunteer their lists of words, and you write them on the board. More often than not, collectively students will come up with the song’s key words. Ask students to guess what the song is about.
  2. Students read the song’s lyrics. You clarify the meaning of new words that are critical to understanding the song, impressing on students that they do not need to understand every new word. Identify which new words are worth memorizing.
  3. Students listen to the song a second time while reading the lyrics.
  4. Students listen to the song a third time, without the lyrics, or they watch the song’s official music video online. (Preview the video first to be sure it’s appropriate for your classroom.)

Sometimes during the course of the lesson, one of the song’s features might pop out at you. You might, for example, notice that it has a chorus that is easy to sing or speak, tells a story that students could summarize, or has a topic that students could personalize with Draw-Write-Share. Then you could, if time allows, expand the lesson on the spur of the moment.

Example: A Minimal-Prep Lesson on the Song “Fight Song”
This song by Rachel Platten debuted last February and has steadily climbed the pop-music charts. Because of its popularity, clear lyrics, and upbeat theme, it is a good choice to bring into the classroom. Continue reading →