Thursday, June 7, 2012

Pedagogical movement patterns in pronunciation teaching

Clip art: Clker
Clip art: Clker
Based on the work of Newman and others in the field of nursing, this 2011 study by Picard looked at, among other things, the relationship between creative movement (something analogous to modern, expressive, interpretative dance) and pattern recognition (of various life experiences and personal constructs of identity.) "There was congruence between creative movement and narrative in terms of engagement with the environment and range of response. Movement was experienced as integrative and led to pattern recognition . . . The construct of movement in expanding consciousness was examined in terms of flow, turbulence and dialectic within pattern." (Note the nice "textural" metaphors there!) To translate that into haptic-integrated pronunciation teaching, what movement is facilitating, among other things, is the ability to manage fluency and accuracy, moving back and forth--in dialectic fashion (keeping both in attention) between focus on form and conversational narrative. (See earlier "Change the channel fallacy" post.) The other feature of the research, keeping creativity in play as patterns are considered and conceptualized is also essential. Pattern drill in pronunciation often appears to have a half life of seconds, at best (3 second in fact!) Movement and gesture are valuable tools in pronunciation teaching, to be sure, but only when applied with intelligent design . . . 

2 comments:

Bill Acton said...

another nice piece on creativity: http://m.good.is/post/what-does-it-mean-to-teach-creativity/

Angelina Van Dyke said...

The audio-articulation method (Demirezin, 2003, 2004) covers the phonological technical bases, but without the embodied savvy of EHIEP.

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