Beginning next week! (Haptic) English Accent and Pronunciation Improvement Course

 If you have students, or colleagues  (or yourself!) who 

• have an IELTS speaking score of 5 or above, and 
• still have some accent or pronunciation issues that can still interfere with communicating well, 
• and are to busy to take a regular course with a school,

do this EAPIC course. The description and landing page are here. As you will see, the basic course is free. If you want more personal feedback, that is available, too, for $200 USD. No limit on number of students but it is important to get in from the begining if you can, for about 30-minutes a day, 6 days a week. 

See you there!

Bill

Back to the future of (haptic) pronunciation teaching: beginning June 23rd!

The 2025 summer English Accent and Pronuncition Improvement Course (EAPIC) begins next month on the 26th. (The Spring course materials and videos are still available here.) I asked Perplexity about it, since it will figure in very prominently in all lessons of the new course:

"The English Accent and Pronunciation Improvement Course (EAPIC), built on Acton’s haptic pronunciation teaching, is notably effective for English learners of all ages, abilities, and backgrounds due to its unique integration of movement, touch, and embodied practice. Unlike traditional pronunciation methods that rely heavily on auditory and visual cues, haptic pronunciation teaching (HaPT) systematically incorporates gesture and touch, creating a multisensory learning experience that enhances memory, recall, and confidence in spoken English.

This approach draws inspiration from voice training, embodied oral reading, and kinesthetic learning, allowing learners to physically anchor sounds and patterns in their bodies. Such “haptic anchoring” supports deeper integration of new pronunciation habits, much like muscle memory in sports or music training.The method is adaptable, making it accessible to learners regardless of age, native language, or prior phonetic knowledge. Regular, structured practice—both in and out of class—ensures that improvements are not only rapid but also sustainable, while the engaging, movement-based activities boost motivation and make learning enjoyable.

Ultimately, Acton’s haptic method empowers learners to internalize English pronunciation in a way that is memorable, meaningful, and effective across diverse learner profiles."

Could not have said it better myself . . . (In fact most of those terms and phrases are extracted directly from the blog and publications I have been involved with!) The embodied oral reading of the course will be all AI generated--by the students themselves--to provide the optimal context and personal connection between the genre, vocabulary and proficiency level of the learner and the practice materials. 

The weekly, 30-minute course training videos are free, on Youtube and Vimeo. Enrolment in the 60-minute live feedback sessions is optional ($250 USD). 

Join us next month! 

A Super Somewhat "Solipsistic" Solo Method for Greatly Improving English Speaking Fluency!

COURSE closed! But we are opening another soon! Keep in touch!

I know what you are thinking . . .well, actually,"solipsistically" speaking, I probably don't, of course! But, anyway, this is a remarkable new course offering,  one designed for learners in a somewhat unique but actually very common niche: 

The 9-week online course, Acton Haptic English Fluency Training (HFT), is designed especially for non-native English-speaking adults who 

1. Do not have the opportunity for much, if any English, face-to-face conversation in their daily lives but 
2. Who want to keep improving, nonetheless, 
3. Who have an IELTS reading ability of about 4.0 or above, and 
4. Do not have a lot of cash to work with!

• HFT features Embodied Oral Reading to develop English fluency and confidence 

·       Embodied Oral Reading is done out loud, in private, using stories that are accompanied by special gestures which use concepts and vocabulary that students are already familiar with, essentially, what they can understand, but perhaps may not be able to talk about fluently.  

·     HFT provides the student with a set of skills which once learned they can continue improving with beyond the course. It is especially recommended, for example, for students who do not have access to conversational English currently, such as

o   Undergraduate and graduate students in programs not taught primarily in English

o   Parents whose spoken English is not strong and whose children are in public schools in North America

o   New immigrants and family members who cannot currently access English instruction

o   Students who are in religious studies where they will serve in a language other than English, but where being able to read Scripture in English in public is essential,

o   Retired “senior” English L2 speakers who may be “home alone” in some sense much of the time but would value spending 3-4 hours weekly to develop the clarity of their spoken English.  

·    It is based on extensive research (and decades of teaching experience) in oral reading methodology and the well-known "Lectio Divina" tradition in meditation practice, using extensive oral reading as homework—not in a class.

·    The key neuroscience-based innovation of HFT is the precise use of gestures and touch in the visual field. Synchronized with speech, these multimodality gestures create optimal conditions for attention, learning, retention and recall.

·    Course work is done individually, with four or five, 30-minute homework assignments and a live 75-minute zoom feedback meeting weekly, usually on Friday evening. (which is also recorded for later access, if necessary.)

• The emphasis is on improving the English that learners understand well but do no speak with the same level of success. 

• Learners finish the course being able to speak more rhythmically, more expressively, more precisely and with greater confidence.

• There are several possible story and text types that students can choose to use in their embodied oral readings (EORs):
• General academic English (for high school learners and older)
• General business English (for adults)
• General workplace English
• General seminary/Bible-based English (for students in Christian ministry or training)
• General informal conversation-based English (especially good for parents whose children's English is better than theirs!) 
• General instructional language used in teaching (for non-native English speaking teachers)
• Personalized, story-based English (for those want to improve just for the love of English)
• Course includes:
• Introduction and 8, 1-week lessons which include
• Weekly 30-minute recorded lessons
• Weekly 60-minute follow up, live (or recorded) lesson
• Daily, 20-30 minute homework assignments
• Syllabus
• Week 1 - Introduction
• Week 2 - Rhythm 1
• Week 3 - Fluency 1
• Week 4 - Vowels 1
• Week 5 - Vowels 2
• Week 6 - Consonants (th, w/y,  r/l and f/v)
• Week 7 - Intonation
• Week 8 - Rhythm 2 (Rhythm, linking and pausing) 
• Week 9 - Fluency 2 (Expressiveness and confidence)
• Example Unit:
• Monday, view recorded lesson
• Tuesday, do homework
• Wednesday, do homework
• Thursday, do homework
• Friday, follow up lesson live on Zoom (usually, 18:00 PST)
• Saturday, do homework
• Sunday: TAKE THE DAY OFF!!!
• Homework format:
• Review one part of the video (5 minutes)
• Practice the haptic gesture featured in the weekly lesson (5 minutes)
• Practice the Embodied Oral Reading (EOR) in the course materials (10~15 minutes)
• Record your last practice (about 2 minutes)
• Review your recording (about 2 minutes)
• Find some words or phrases that are not in the lesson to practice the lesson's  haptic gesture with! (5 minutes)
• (Optional) personalized Zoom meetings available for additional fee upon request
• Customized course versions tailored for organizations of almost any size. 
• (Optional) Professional development credit available through Trinity Western University

• Next course: October 9th ~ December 9th. 
• Cost: $350 USD, materials included. 
• To enroll or for more info, contact Bill Acton at wracton@gmail.com

• Further details are available at: www.actonhaptic.com/hft
• Instructors with training in haptic pronunciation teaching are invited to apply to be a collaborating instructor in these HFT courses. (Or offer the course through their school!)

Haptic pronunciation training webinars coming UpDownUnder!

The first training webinars for Haptic Pronunciation Training - English, Version 5.0, were held on December 7th and 8th, staged from Wollongong, Australia. So, why from Wollongong? Other than being there to connect with Aussie Hapticians and meet the penguins, the webinars are follow ups to the two conferences (3rd Annual Pronunciation Symposium and ALAA conference) reported on in the previous post.

You'll be able to sign up for them again in February, 2019.

Webinar I

• Introduction to Haptic Pronuciation Teaching
• North American English vowels
• Syllables and phrase grouping
• Intonation 
• Select consonants

Webinar II

• Aussie English vowels and intonation
• Fluency
• Conversation rhythm
• Advanced intonation and secondary stress
• Classroom correction, feedback integration techniques
• Consonants on demand (from participants) 

 Note: To do Webinar II you need to also sign up for Webinar I

Keep in touch!

One (haptic) method (of pronunciation teaching) that (almost) fits any student population!

That is (almost) the title of my upcoming talk at Hiroshima University, on June 19th! If you are in that neck of the (Japanese) woods, please join us!

Keep in touch!

Bill

NEW book chapter: A haptic pronunciation course for Freshman ESL college students

John Murphy's excellent new book, Teaching the Pronunciation of English: Focus on whole courses, has just been published! It is in many ways a celebration of pronunciation teaching.

Unapologetic haptic disclaimer: Of the 12 chapters, done by 17 contributors, our favorite (understandably) is by Nate Kielstra (with William Acton): "A haptic pronunciation course for Freshman ESL college students!"

From the forward:

"This volume fills a gap by introducing readers to whole courses focused on teaching the pronunciation of English as a second, foreign, or international language. This collection is designed to support more effective pronunciation teaching in as many language classrooms in as many different parts of the world as possible and to serve as a core text in an ESOL teacher development course dedicated to preparing pronunciation teachers."

It certainly delivers on that.

This volume is based on some of the same principles as Murphy and Byrd's earlier (2001) Understanding the courses we teach: Local perspectives on English language teaching. (Which we still use in our graduate program as a template for course development/description.)

One striking feature of the volume which we endorse enthusiastically is the idea that the courses described are more or less "stand alone". Talk about revolutionary (or Back-to-the-future-ish!) In other words, they are seen as effective even without much subsequent follow up by other classroom instructors teaching other skill areas--although all recommend (implicitly or explicitly) application of what is learned elsewhere in the curriculum.

Just imagine what it would be like should the inspired work of one of these "master classes" in your school go spilling off into the rest of program, either in just improved student pronunciation or instructors who take the process and run with it . . .

Murphy's first two chapters do a nice job of laying out the basics of what such courses need to cover or contain. Nate's chapter will give you a good picture of what a haptic-based course can look like.

Required reading!

Lost in space: Why phoneme vowel charts may inhibit learning of pronunciation

In a recent workshop I inadvertently suggested that the relative distances between adjacent English vowels on various standard charts, such as the IPA matrix or those used in pronunciation teaching were probably not all that important. Rather than "stand by" that comment, I need to "distance myself" from it! Here's why.

Several posts on the blog, including a recent one, have dealt with the basic question of to what extent visual stimuli can potentially undermine learning of sound, movement and touch (the basic stuff of the haptic approach to pronunciation teaching.) I went back to Doellar and Burgess (2008), "Distinct error-correcting and incidental learning of location relative to landmarks and boundaries" (Full citation below.), one of the key pieces of research/theory that our haptic work has been based on.

In essence, that study demonstrated that we have two parallel systems for learning locations, in two different parts of the brain, one from landmarks in the visual (or experiential) field and another from boundaries of the field. Furthermore, boundaries tend to override landmarks in navigating. (For instance, when finding your way in the dark, your first instinct is to go along the wall, touching what is there, if possible, not steer through landmarks or objects in the field in front of you whose relative location may be much less fixed in your experience.)

Most importantly for us, boundaries tend to be learned incidentally; landmarks, associatively. In other words, location relative to boundaries is more like a map, where the exact point is first identified by where it is relative to the boundary, not the other points within the map itself. Conversely, landmarks tend to be learned associatively, relative to each other, not in relation to the boundary of the field, which may be irrelevant anyway, not conceptually present.

So what does that imply for teaching English vowels? 

• Learner access in memory to the vowels when still actively working on improving pronunciation is generally a picture or image of a matrix, where the vowels are placed in it. (Having asked learners for decades how they "get to" vowels, the consistent answer is something like: "I look at the vowel chart in my mind.")
• The relative position of those vowels, especially adjacent vowels, is almost certainly tied more to the boundaries of the matrix, the sides and intersecting lines, not the relative auditory and articulatory qualities of the sounds themselves. 
• The impact of visual schema and processing over auditory and haptic is such that, at least for many learners, the chart is at least not doing much to facilitate access to the articulatory and somatic features of the phonemes, themselves. (I realize that is an empirical question that cries out for a controlled study!)
• The phonemic system of a language is based fundamentally on relative distances between phonemes. The brain generally perceives phonemic differences as binary, e.g., it is either 'u' or 'U', or 'p' or 'b', although actual sound produced may be exceedingly close to the conceptual "boundary" separating them. 
• Haptic work basically backgrounds visual schema and visual prominence, attempting to promote a stronger association between the sounds, themselves, and the "distance" between them, in part by locating them in the visual field immediately in front of the learner, using gesture, movement and touch, so that the learner experiences the relative phonemic "differences" as distinctly as possible.
• We still do some initial orientation to the vowel system using a clock image with the vowels imposed on it, to establish the technique of using vowel numbers for correction and feedback, but try to get away from that as soon as possible, since that visual schema as well gives the impression that the vowels are somehow "equidistant" from each other--and, of course, according to Doellar and Burgess (2008) probably more readily associated with the boundary of the clock than with each other.

 (Based on excerpt from Basic Haptic Pronunciation, v4.0, forthcoming, Spring, 2016.)

Doellar, C. and Burgess, N. (2008). "Distinct error-correcting and incidental learning of location relative to landmarks and boundaries", retrieved from http://www.pnas.org/content/105/15/5909.long, December 19, 2015.

We have met the enemy (of pronunciation teaching in TESOL), and he is us!

Clker.com

Am often reminded of that great quip in the political cartoon Pogo, by Walt Kelly, embellished in the title of this post. In workshops we often encounter the following three misconceptions about pronunciation teaching, based vaguely and incorrectly on "research" in the field. Recently, in the comments of one reviewer of a proposal for a workshop on teaching consonants for the 2016 TESOL convention--which was rejected, by the way--all three showed up together! Here they are, with my responses in italics:

Currency/Importance/Appropriateness 
"Most learners have access to websites that model phonemes, such as Rachel’s English and Sounds of Speech by the University of Iowa."

Really? "Most" learners? What planet is that on? Billions of learners don't have web access, including the preponderance of those in settlement programs here in Vancouver. And even those that do still need competent instruction on not only to use them effectively, but find them in the first place. Furthermore, those sites are strongly visual-auditory and EAP biased, better suited to what we term "EAP-types" (English for the academically privileged). For the kinaesthetic or less literate learner, those web resources are generally of little value. There are half a dozen other reasons why that perspective is excessively "linguini-centric."

Theory, Practice and Research Basis ·      
"There has been much research, which has shown the central importance of the peak vowel in a stressed syllable. The focus on consonant articulation is less important."

That represents an "uninformed" consensus from more than a decade ago. Any number of studies have since established the critical importance of selected consonants for intelligibility of learners of specific L1s. Think: Final consonants in English for some Vietnamese dialects or some Spanish L1 speakers of English. 

Support for Practices, Conclusions, and/or Recommendations ·      
"The article made a nice specific connection between haptic activities, and acquisition of consonant sounds. However, there was only one source."

Good grief. The workshop was proposed as a practical, hands-on session for teachers, presenting techniques for dealing with specific consonants.(The one reference is a published conference paper linked off the University of Iowa website.) Have heard similar reports from other classroom practitioners, such as myself, who had  proposals rejected: Only "researcher certified" proposals welcome. So much for our earlier enthusiasm in TESOL for teacher empowerment . . .

Micro-aggression in (pronunciation) teaching

Photo credit:
Clker.com

One of the common responses in research as to why contemporary instructors don't deal much with pronunciation or attempt to correct it is what might be characterized as (fear of) committing a "micro-aggression." New term for you?

In a recent workshop, one of the participants stated his reason for being hesitant about correcting pronunciation (paraphrasing slightly): I'm just afraid that I might hurt their feelings or mess with their identity. He had a good point. How do you avoid that?

The topic of micro-aggression is in the news currently after comments by University of California President, Napolitano, claiming that attention to micro-aggression as an essential way to " . .  . build and nurture a productive academic climate." It is defined, according to the UC Tool: Recognizing Microaggressions and the Messages They Send)  as:

" . . . brief and commonplace daily verbal, behavioral, or environmenral indignities, whether intentional or unintentional, (emphasis, mine) that communicate hostile, de­rogatory, or negative racial slights and insults toward people of colour. Perpetrators of micro-aggressions are often unaware that they engage in such communications when they interact with racial/ethnlc minorities."

Noting that "The context of the relationship is critical," the Tool, nonetheless, lists about two dozen statements and "attitudes" (and interpretations) to be avoided such as these four language-related, examples:

• Asking: "Where are you from or where were you born?” 
• Attempting a compliment: "You speak English very well." 
• Inquiring of a Latino: "Why do you have to be so loud/animated? . . . " 
• Telling an Asian: "We want to know what you think. . . . Speak up more."

There are at least four general types of micro-aggressions, according to the original formulation by Wing, et al. (2007) of Teachers College of Columbia University: (a) micro-assaults, (b) micro-invalidations, (c) micro-insults, and (d) environmental micro-aggressions. 

We could easily add some more potentially micro-aggressive statements of the b, c and d varieties that could "hurt," related to pronunciation instruction: 

"I don't understand what you just said." 

"I have no trouble understanding you." 

"X is a good model for your pronunciation." 

"X isn't a good model for your pronunciation." 

"There is no need for you to sound like Tom or Penelope Cruise." 

"There were several pronunciation problems that came up during the discussion . . . " 

"That's a "th" at the beginning, not "d" . . .  

"Listen to your partner's pronunciation. Write down any mistakes you hear."

"You need to improve your pronunciation a little."

"You have a delightful accent."

"Stick out your tongue . . . "

"That's pronounced X, not Y."

"Repeat that after me, please."

(Nonverbal) Grimace but didn't say anything.

(Nonverbal) Smile, despite unintelligibility. 

All of those could, according to Wing, et al.'s framework,  convey the message that there is something seriously "wrong" with the learner's pronunciation--or identity. How do you insure that the target is only the former, not the latter? Or can you? Or is it better not to take the risk of "micro-agressing in the first place? Look forward to your comments. (No micro- or macro- aggression, please!) 

Full citations:

Sue, D., (2010). Microaggressions in Everyday Life: Race, Gender and Sexual Orientation, New York: Wiley & Sons.

Wing, S., Capodilupo, A., Toprlno, D., Bucceri,J., Holder, A., Nadlll, K. and Esquilin, M. (2007). Racial Micro-aggressions in Everyday Life: implications for clinical practice, American Psychologist 62:4, 271-286 

Haptic pronunciation teaching workshop at TESOL 2015 in Toronto!

For the 8th year in row, a haptic pronunciation teaching workshop has been accepted for presentation at the TESOL conference in Toronto, March 25th ~ 28th, 2015. Below is the program summary and excerpts from the proposal. We'll also have a "gathering of hapticians" at the conference, as usual. Join us! 

Program summary

This workshop introduces a set of six haptic (movement + touch)-based techniques for presenting and correcting English L2 pronunciation, applicable for intermediate English language learners and above. Guided by research on kinaesthetic approaches to L2 pronunciation instruction, the presenters train participants to use the instructional techniques in their classrooms.
------------------------------------------------------------
Participants learn a multiple-modality system, designed to be used throughout the curriculum—not just in stand-alone pronunciation classes. The workshop is predominantly experiential, where a set of six haptic techniques are introduced and practiced in break-out micro-teaching sessions. The sections of the workshop are:

A. Principles of haptic integration
B. Haptic anchoring vowels and word stress
C. Haptic anchoring phrasal stress and rhythm
D. Haptic anchoring of basic intonation contours
E. Haptic anchoring of general fluency

This haptic-based system for pronunciation instruction was formed under the premise that, while our general understanding of L2 phonological development has increased substantially, most methodologists would concur that preparing a new EFL/ESL instructor adequately for pronunciation work remains a challenge. The reason for this, in part, is that there is currently no easily accessible, comprehensive model that integrates pronunciation instruction in general speaking and listening instruction. 

The perspective of this workshop is that systematic use of body movement, especially using haptic anchoring (touch tied to pedagogical movement and gesture) is essential to that synthesis. The techniques presented are designed to be integrated into either general or specific pronunciation instruction whenever use of a problematic sound pattern occurs.

The theoretical basis of this approach is derived principally from four sources: (a) the voice and stage movement work of Lessac (Lesssac,1967), (b) Embodiment theory (Holme, 2012) as applied to TESOL, (c) current neuro-physiological research on the role of movement and touch in learning in general (Minogue & Jones, 2006) and of sound systems in particular (Acton, 2012), and (d) kinaesthetic approaches to L2 pronunciation instruction (e.g., Acton 1984).

By the conclusion of the workshop, participants will be able to use the haptic pronunciation integration techniques in their classrooms.

AHEPS v3.0 "Bees and Butterflies"
(Serious fun!)
The best, fastest, most moving
 and touching way to teach,
learn and correct English pronunciation!

Guidelines for being good "Outer Circle" English speakers (and doing HICP with them!)

Here is a handout from a 2009 TESOL-France Plenary by Ur In it is a very interesting set of guidelines for Outer Circle English users which raises a number of issues for HICP/EHIEP work. It is, I think, in some sense, rather "cutting edge" (but also, possibly rather "outer edge" as well!) The bracketed comments are mine. Here they are in abbreviated form:

Clip art: Clker

" . . . Aim to

[1]  . . . be 'English-knowing bilinguals,' [rather than true balanced dual-language "native speakers"]

[2] . . . learn internationally acceptable English rather than a particular native variety [She probably means something approximating what is now termed, English as a lingua franca.]

[3] . . . try not to think in English . . . [God forbid you should actually think like an Englishman or American!]

[4] . . . accept that we are native speakers of our own language, and use it, where appropriate, to help us learn English better (compare, translate etc.)" [I like that one, where appropriate, of course.]

I could do a blog post on any of those but one overriding issue emerges. Given that framework, what conceivable model (verbal and nonverbal) would be acceptable for use in the classroom? The video-based program of EHIEP, which teaches everything through haptic video, uses a great looking model (yours truly!) to train learners and instructors in how to learn and anchor (and provide corrective feedback in class for) vowels, stress, rhythm and intonation.

The pedagogical movement patterns (PMP) have been developed to be as "internationally acceptable," as humanly and critically pedagogical as  possible--but the basic "felt sense" of the sounds presented and facial expression on the video are still undeniably "Inner Circle-ish." Apparently, however,  as long as learners consistently try to not think in English, we should be ok.  Now that I think of it, that may be the case with the system already, in fact. (Only in the Don't think! Just do it! sense, of course!) I'll have to think about that, too,  and get back to you . . .