Showing posts with label Lessac. Show all posts
Showing posts with label Lessac. Show all posts

Sunday, September 8, 2024

(Haptic) English Accent and Pronunciation Course - Begins October 3rd!

In case you missed the course announcement, HERE a quick video guide to it, and THE LINK to the course description! It is a new design, created especially for really busy, disciplined people. 

It is a 10-week, online, almost self-study course, WITH THE FIRST TWO LESSONS FREE! 

It does require a brief Zoom interview to actually join the course. (Just to make sure it is a good fit for you!)  

Enrolment is limited to 30 students. (So sign on soon!) 

For more information or to schedule an interview, email: wracton@gmail.com

Check it out!









Wednesday, August 9, 2023

Talk (to) Yourself into Improved English Fluency! (an almost DO-IT-YOURSELF course!)

Clker.com
And how do you do that? In part, using embodied oral reading to develop English fluency and confidence. The efficacy and methodology for the various applications for oral reading is well established. (For an excellent review of oral reading research and methodology, see Fuchs, Fuchs, Hosp and Jenkins, 2001) )

What haptic pronunciation teaching has brought to the party beginning in about 2007 has been the systematic use of the body and body movement in pronunciation teaching. What that means, in effect, is that every word in the selected oral reading is "choreographed" with some degree of conscious engagement of the upper body, generally focusing on rhythm of English but also, in principle, any phonological feature of any language. 

The concept of improving your speaking fluency in private, at least certain features of it, without talking with or working with another person or instructor, is today an almost radical position, as opposed to the prevailing social-constructivist, communicative view of ideal (probably group-based) context and input. Although it is difficult to establish empirically, of course, in reality the preponderance of ALL language learning happens as learners do "homework", either internal "self talk" or explicitly out loud speaking . . .  in private. 

That successful L2 learners can improve their fluency away from public engagement is pretty much a given. (By fluency here I am limiting the discussion to the learner's ability to speaking  rhythmically and confidently--and more rapidly, using language elements that they are capable of articulating, often very haltingly or not at all.)

The model of that methodology adopted by haptic pronunciation on this blog and elsewhere has been based on that of Lessac, presented in his book, The use and training of the human voice. Although the approach was developed essentially for native speakers and many actors or public speakers in process, the principles and system are beautifully compatible with confidence and fluency development for nonnative speakers as well. In that system, learners are first reoriented to the basic movement and somatic energy in their bodies, very much like contemporary "mindfulness" therapies, for example. 

What was extraordinary back then--and even now--was the design where the entire 12-step process could be done by one person, alone, just using the book, following the plan. (One can, of course, today take courses in the Lessac method internationally, but the central premise holds: for speech fluency, as defined earlier, there is a great deal one can do on their own, such that it carries over very well into spontaneous speaking engagement.)

That, in essence, is how the KINETIK, haptic-based course works. Unfortunately, the October-December, Acton Haptic English Fluency Training (HFT) course offered through Trinity Western University is closed!!! However, there is still plenty of time, however, to set up a customized course with your organization for next spring, or plan to enroll for the upcomng January~March course. (for further information on either option, email me: wracton@gmail.com

A few excerpts from the HFT course description: 

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

The 9-week course is designed especially for non-native English-speaking adults who do not have the opportunity for much, if any English, face-to-face conversation in their daily lives but who want to keep improving, nonetheless. (and who have an IELTS reading ability of about 4.0 or above.) HFT provides the student with a set of skills so that they can continue improving after the course, working with other readings of interest to them. It is recommended, for example, for students who are not studying spoken/conversational English currently.

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, creating 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.)

Next course: January ~ March, 2024

·Cost for individuals: $350 USD, materials included, but for a school, for example, (maximum of 100 students) the cost per student can be as low as $25 USD.

A teacher training course in Haptic Pronunciation Teaching is also available (See www.actonhaptic/KINETIK

To enroll or for more info, go to www.actonhaptic/hft or contact Bill Acton at wracton@gmail.com

Full citation: 
Fuchs, L., Fuchs, D., Hosp, M. & Jenkins, J. 2021. Oral Reading Fluency as an Indicator of Reading Competence: A Theoretical, Empirical, and Historical Analysis DOI: 10.4324/9781410608246-3, in (Eds) Kamee'enui, E. & Simmons, D. 2002. The Role of Fluency in Reading Competence, Assessment, and instruction: Fluency at the intersection of Accuracy and Speed: A Special Issue of scientific Studies of Reading, New York: Rutledge, pp. 239-256








Monday, February 6, 2023

Do-it-(almost by and with)-yourself: English SELF-TALK Pronunciation Improvement (ESPI)

How's your pronunciation and diction when you talk (out loud) to yourself? Probably not great, right? Well, how about using that venue/menu to help improve a learner's general English pronunciation? We are testing a new KINETIK course, English SELF-TALK Pronunciation Improvement (ESPI), that has in the past shown real promise in (also) improving the pronunciation of talk with other people as well! Wow . .  . what a concept, eh!

ESPI is basically, an application of the Lessac system as presented in Lessac's 1997 book, The use and training of the human voice: A bio-dynamic approach to vocal life

Note: In that (1997) edition there is a brilliant, multi-step roadmap for the individual who wants to or must work on their own. Today's Lessac practitioners may or may not still work with that (slightly solipsistic) framework. Although the 1997 version is focused on giving native speakers of English, not nonnatives, a "healthy vocal life," derived from Lessac's career in voice training, it is easily adaptable by an experienced English language instructor. I have been using it, in some form, for about 40 years, in fact. 

Research on how learners learn has always pointed to at least the prominence of learners practicing "out loud," depending on modality preferences. Why not work with that more systematically? Good idea.

The course is designed especially for a specific niche. Those who:

  • Can benefit from lots of practice speaking (but not necessarily conversing with somebody else)
  • Have reasonably good aural comprehension for the demands of their personal context
  • Lack confidence to use what they know, what they can say if they have the time and occasion.
  • Have issues with rhythm, stress and intonation 
  • Have a few, high functional load consonants (which they can effectively deal with by being referred to free sources on the web for personal practice, such as Accent Tutor.)
Notice in the blogpost title is the word, almost . .. The basic course includes just a set of videos and book. There is an option available for the student or a class of students to get periodic feedback (from me or one of my grad students) on their progress. That feedback could also be provided by their instructor, assuming that the instructor has done the course along with the students. 

It will be available to the public by next month, at the TESOL Convention in Portland in March. See you there! 



Lessac, A. (1997). The use and training of the human voice: A bio-dynamic approach to vocal life (3rd ed).. New York: Drama Book Specialists.


Saturday, October 15, 2022

PTSD: Pronunciation Teaching Somatically (Experienced and) Delivered

Learning and teaching pronunciation does not have to be traumatic, although for some it just may be! There is, however, a great deal to be learned from body-based treatments of PTSD and related traumas that apply to our field--especially in terms of directionality, what comes first, methodologically, in therapy or teaching. 

Not sure how I missed this extraordinary (and extensive) review last year, (2021) "Somatic experiencing – effectiveness and key factors of a body-oriented trauma therapy: a scoping literature review, " by Kuhfuss, Maldei, Hetmanek and Baumann of University of Tier. 

Excerpts from the abstract and conclusion: 

  • "The body-oriented therapeutic approach Somatic Experiencing® (SE) treats post-traumatic symptoms by changing the interoceptive and proprioceptive sensations associated with the traumatic experience. Findings provide preliminary evidence for positive effects of SE on PTSD-related symptoms."
  • "Moreover, initial evidence suggests that SE has a positive impact on affective and somatic symptoms and measures of well-being in both traumatized and non-traumatized samples. Practitioners and clients identified resource-orientation and use of touch as method-specific key factors of SE."
  • "It provides promising findings indicating that SE might be effective in reducing traumatic stress, affective disorders, and somatic symptoms and in improving life quality . . . SE seems to be characterized in particular by its cross-cultural applicability and its combinability with other therapeutic procedures."

SE therapy, in essence, targets the specific body sensations associated with trauma, "from the body up," so to speak. For example, past trauma may be triggered, experienced throughout the (See the matrix at somatictherapy.com) body, e.g., eyes, hands, feet arms, skin tone, blood pressure, breathing muscles, all of which can be managed and moderated consciously with training. The effect, in part, is to change the emotional loading of the past experience and ultimately its ongoing impact on spontaneous, real time functioning. 

So how does that translate into pronunciation teaching? One obvious connection is that if the learner is provided with a rich, physically engaging experience in the body synchronized with a sound or a sound pattern, the chance of the sound being remembered should be enhanced greatly. (Wow . . . all that earlier "physicality" in teaching sounds may have been on to something, when it came to anchoring a sound in memory!) 

The KINETIK method, like many other highly somatic or kinesthetic approaches is based on 

  • Lessac's notion of "training the body first," early attention to and emphasis on body engagement
  • Observed Experiential Integration therapy (especially effective in treating PTSD)
  • and extensive use of haptic techniques (gesture + touch) from Haptic Pronunciation Teaching

What is the relatively radical key here is that the method, itself, places great importance on the directionality overcoming barriers to learning by using body awareness, in some sense like Mindfulness training, while directly connecting the "feeling" to the concept or event--rather than the converse. 

Are you headed in the right direction as well? 

Source;

Kuhfuß M, Maldei T, Hetmanek A, Baumann N. Somatic experiencing - effectiveness and key factors of a body-oriented trauma therapy: a scoping literature review. Eur J Psychotraumatol. 2021 Jul 12;12(1):1929023. doi: 10.1080/20008198.2021.1929023. PMID: 34290845; PMCID: PMC8276649.


Tuesday, July 5, 2022

Embodied (and great) learning of pronunciation: Exploring Arthur Lessac!

Once in a while, we should go back to the source, what inspired us to be in this field, just to understand better where are at the moment. Two months ago, I recommended to you a new book, Movement Matters: How Embodied Cognition Informs Teaching and Learning, edited by Macrine, S. & Fugate, J., which represents some extraordinary progress is getting the body systematically back into instruction. Lessac had it figured out over 75 years ago. 

His work is not widely known outside of the fields of speech and drama, in part, because it is so "body-centered," requiring students to learn to explore themselves, their place in the world--and their voice through something similar to what we now know as "mindfulness" but also in persona of an actor to inhabit any number of other agents . . . or even musical instruments and animals, let alone metaphor upon metaphor. In other words, in theater, he had found a path back to fully engaged--and joyful use of the body and voice. 

What is so evident in Macrine & Fugate (2022) is that embodiment is key, but how you get there may vary widely . . . and neuroscience has explored a myriad ways in which that can happen effectively, many of them seem straight out of Lessac's work. 

From my perspective, in terms of a complete system, an accompanied, experiential guide to embodied "learning (through constant) exploration" (as he would characterize it), his two classics, Body Wisdom, and The Use and Training of the Human Voice, are almost without peer. 

Of course, to follow Lessac through the system, or through the courses available through the Lessac Institute, takes time, maybe six months or so before you get there, where you and your body have become wonderfully "reintegrated," as you were when you were a child. To the post-modern mind, from the "outside," it appears as though you have simply given yourself over to the whims of body, but in fact, what as happened is you and your body are just communicating together as a team. 

But to get there, generally requires going back to square one, exploring the experience of speaking and moving again, setting aside temporarily the layer upon layer of words and experience that determine what we are allowed to sense and understand. To Lessac, it was all about "exploration," being perpetually in that state of discovery with the body as the "territory," and the mind as being the map being constantly created out of experience-- not the reverse. 

In other words, to quote Lessac, train the body first. KINETIK does that. Join us this fall. (www.actonhaptic.com) or email me directly: wracton@gmail.com for custom programs, etc. 

It's good to be back. More on the KINETIK project, "KINETIK (embodied speaking and teaching) Method" soon! 

Monday, February 21, 2022

50 ways to say "Haptic Pronunciation Teaching is BEST!"

About 30 years ago, at the KOTESOL annual conference, I did a plenary talk, something of a demonstration of the power of using gesture, prosody and expressiveness, entitled: 50 ways to say, good morning! (A take off either on a scene from Cyrano de Bergerac or song by Simon and Garfinkel.) Have continued to use that technique/trick ever since. It came off quite successfully, in fact, with an audience of over 100, where each person had to not only come up with a unique way to say "Good Morning!" but include a gesture to accompany it. One we had done "the 100," I then went back and pointed out something of the range of emotional, prosodic and gestural overlays that were evident. (Try it sometime!) 

CAVEAT EMPTOR: The following is very much fun and decidedly PRO-KINETIK!!! (But, also, pretty much accurate!) 

Now, instead of using the same words with varied overlays, here are 50 REASONs why Haptic Pronunciation Teaching in the new KINETIK method, including the "Embodied Oral Reading/Recast System" (EORRS) is, in my humble opinion, simply the best. 

KINETIK 

  1. is "full-body" based and fun
  2. is based in embodiment theory
  3. develops "mindful" body awareness
  4. is based, in part on American Sign Language
  5. is based, in part, on Observed Experiential Observation 
  6. uses gesture synchronized speech
  7. uses gesture-managed, spontaneous speaking
  8. is based in the neuroscience of touch
  9. is rhythm-based, done first before anything else!
  10. includes just the essentials of pronunciation
  11. is almost as good online as in person (if not better)
  12. is easy to learn to teach with (one technique at a time)
  13. is inexpensive to learn to teach with ($500 minimum for complete system)
  14. is inexpensive for students (It requires little, if any special materials, just access to online training videos)
  15. uses "regular" course content for teaching pronunciation
  16. can be applied in any skill area class
  17. is great for in class correction and feedback
  18. is excellent, with straightforward homework system
  19. is great for modeling sentences, phrases, idioms
  20. strongly enhances memory for vocabulary 
  21. strongly enhances expressiveness
  22. requires very little or no background in linguistics or phonetics to use it effectively
  23. requires very little or no background in language teaching to use it effectively
  24. uses (near revolutionary) "Embodied Oral Reading and Recast System"
  25. consistently enhances student confidence in speaking
  26. can be applied to a learner's L1 sound system
  27. engages better breathing and posture
  28. helps develop better abs!
  29. facilitates feasible peer correction and feedback
  30. is a complete scaffolded, method
  31. has highly personalized weekly face to face session (or on Zoom)
  32. facilitates development of rapport in the classroom
  33. is based on quality dialogic instruction (instructor-student, and student-student)
  34. has an amazing technique for [th]
  35. has an amazing technique for [r/l]
  36. has an amazing technique for linking
  37. has an amazing technique for word-final voiced obstruents
  38. has an amazing techniques for discourse orientation (prosody between speakers)
  39. facilitates enhanced visual presence on screen/zoom
  40. creates a relaxed classroom milieu
  41. is applicable for learners of all ages
  42. is applicable for learners of all proficiency levels
  43. is applicable for classes of all sizes
  44. is applicable for use in literacy training
  45. is based on over 50 years of pronunciation teaching experience
  46. is based on about 35 years of kinaesthetic pronunciation teaching
  47. is based on over 15 years of effective haptic pronunciation teaching
  48. is adaptable for special needs instruction
  49. is applicable for accent reduction
  50. makes some kinds of drill "great" again
For more information, goto: www.actonhaptic.com/kinetik/ or email me directly: wracton@gmail.com

Sunday, January 9, 2022

Body-full-ness and (haptic) pronunciation teaching--make no mistake or at least fewer!

Avoiding, correcting, accepting, embracing errors . . . take your pick in pronunciation (and all) instruction as to how you respond when learners come up with something overly "creative" or slightly outside their optimal L2 target inventory. A 2019 study by Lin and colleagues, "How meditation can help you make fewer mistakes - Meditating just once proves to make a difference," summarized by ScienceDaily.com, draws a fascinating but not surprising connection between meditation (or mindfulness training) and "making fewer errors." 

In essence, subjects that were given 20-minutes of meditation and then, hooked up to brain monitors,  were better at performing an error avoidance task, a "computerized distraction test." This was a simple laboratory experiment, of course, but one implication, for the researchers at least, was more empirical support for the current widespread application of "mindfulness" training in education. 

If you have been following the blog, you'll recall that from a haptic perspective, I see mindfulness training, which basically focuses on body states to hold the conscious, modern neurotic mind at bay, is more accurately described as "body-full-ness" (BFN) training. BFN is the basis of haptic pronunciation teaching, prioritizing body-based rhythm engagement and then changing speech patterns through manipulation of upper body torso movement and gesture. In other words, in Lessac's words, "training the body first," is key to effective and efficient speech change and instruction. 

To learn how to teach more "haptically," in the new KINETIK Method system, goto: www.actonhaptic.com or email me directly: wracton@gmail.com and I'll be happy to Zoom you in!!!

Bill

Source:

Michigan State University. (2019, November 11). How meditation can help you make fewer mistakes: Meditating just once proves to make a difference. ScienceDaily. Retrieved January 9, 2022 from www.sciencedaily.com/releases/2019/11/191111124637.htm

Sunday, January 21, 2018

An "after thought" no longer: Embodied cognition, pronunciation instruction and warm ups!

If your pronunciation work is less than memorable or engaging, you may be missing a simple but critical step: warming up the body . . . and mind (cf., recent posts on using Mindfulness or Lessac training for that purpose.) Here's why.

A recent, readable piece by Cardona, Embodied Cognition: A Challenging Road for Clinical Neuropsychology presents a framework that parallels most contemporary models of pronunciation instruction. (Recall the name of this blog: Haptic-integrated CLINICAL pronunciation research!) The basic problem is not that the body is not adequately included or applied in therapy or instruction, but that it generally "comes last" in the process, often just to reinforce what has been "taught", at best.

That linear model has a long history, according to Cardona, in part due to " the convergence of the localizationist approaches and computational models of information processing adopted by CN (clinical neuropsychology)".  His "good news" is that research in neuroscience and embodied cognition has (finally) begun to establish more of the role of the body, relative to both thought and perception, one of parity, contributing bidirectionally to the process--as opposed to contemporary "disembodied and localization connectivist" approaches. (He might as well be talking about pronunciation teaching there.)

"Recently, embodied cognition (EC) has put the sensory-motor system on the stage of human cognitive neuroscience . . .  EC proposes that the brain systems underlying perception and action are integrated with cognition in bidirectional pathways  . . , highlighting their connection with bodily  . . . and emotional  . . .  experiences, leading to research programs aimed at demonstrating the influence of action on perception . . . and high-level cognition  . . . "  (Cardona, 2017) (The ellipted sections represent research citations in the original.) 

Pick up almost any pronunciation teaching text today and observe the order in which pronunciation features are presented and  taught. I did that recently, reviewing over two dozen recent student and methods books. Almost without exception the order was something like the following:
  • perception (by focused listening) 
  • explanation/cognition (by instructor), 
  • possible mechanical adjustment(s), which may or may not include engagement of more of body than just the head (i.e., gesture), and then 
  • oral practice of various kinds, including some communicative pair or group work 
There were occasional recommendations regarding warm ups in the instructor's notes but nothing systematic or specific as to what that should entail or how to do it. 

The relationship between perception, cognition and body action there is very much like what Cardona describes as endemic to clinical neuropsychology: the body is not adequately understood as influencing how the sound is perceived or its essential identity as a physical experience. Instead, the targeted sound or phoneme is encountered first as a linguistic construct or constructed visual image.

No wonder an intervention in class may not be efficient or remembered . . .

Clker.com
So, short of becoming a "haptician" (one who teaches pronunciation beginning with the body movement and awareness)--an excellent idea, by the way, how do you at least partially overcome the disembodiment and localization that can seriously undermine your work? A good first step is to just consistently do a good warm up before attending to pronunciation, a basic principle of haptic work, such as this one which activates a wide range of muscles, sound mechanisms and mind.

One of the best ways to understand just how warm ups work in embodying the learning process is this IADMS piece on warming up before dance practice. No matter how you teach pronunciation, just kicking off your sessions with a well-designed warmup, engaging the body and mind first, will always produce better results. It may take three or four times to get it established with your students, but the long term impact will be striking. Guaranteed . . . or your memory back!



Friday, September 29, 2017

The "Magpie Effect" in pronunciation teaching: what you see is (not necessarily) what you get!

Credit:
Clker.com
Wow! I knew there had to be a term for flashy, beautiful visual aids in pronunciation teaching, and education in general, that may (best case) contribute very little, if anything to the process: the Magpie Effect.


One of the fundamental assumptions of materials design is that visual salience--what stands out due to design, color, placement, etc.--is key to uptake. In general, the claims are far stronger than that. Brighter colors, striking photos and engaging layouts are the stuff of advertising and marketing. Marketing research has long established the potential impact of all of those, in addition to seduction of the other senses.

A new study by Henderson and Hayes of UC Davis, “Meaning-based guidance of attention in scenes as revealed by meaning maps', as reported by NeuroscienceNews.com, provides a striking alternative view into how visual processing and visual attention work. Quoting from the summary:

"Saliency is relatively easy to measure. You can map the amount of saliency in different areas of a picture by measuring relative contrast or brightness, for example. Henderson called this the “magpie theory” our attention is drawn to bright and shiny objects.“It becomes obvious, though, that it can’t be right,” he said, otherwise we would constantly be distracted."

What the Henderson and Hayes (2017) research suggests is that what we attend to in the visual field in front of us has more to do with the mental schema or map we bring to the experience than with the "bright and shiny" object there. Of course, that does not exclude being at least momentarily distracted by those features, or even more importantly the visual "clutter" undermining the connection to the learner's body or somatic experience of a sound or expression.

There have been literally dozens of blog posts here exploring the basic "competition" between visual and auditory modalities. Hint: Visual almost always trumps audio or haptic, except when audio and  haptic team up in some sense--as in haptic pronunciation teaching! The question is, if the impact of glitz and graphics may be a wash, or random at best, what do optimal "maps" in pronunciation teaching "look" like to the learner? The problem, in part, is in the way the question is stated, the visual metaphor itself: look.

Whenever I get stuck on a question of modalities in learning, I go back to Lessac (1967): Train the body first. Anchor sound in body movement and vocal resonance, and then use that mapping in connecting up words and speaking patterns in general. (If you are into mindfulness training, you get this!) The reference to the learner is always what it FEELS like in the entire body to pronounce a word or phrase, not it's visual/graphic representation or cognitive rationale or procedural protocol for doing it!

So, how can we describe the right map in pronunciation teaching? Gendlin's (1981) concept of "felt sense" probably captures it best, a combination of movement, touch and resonance generated by the sound, combined with cognitive insight/understanding of the process and place of the sound in the phonology of the L2. But always IN THAT ORDER, with that sense of priorities.The key is to be able to in effect "rate" or scale the intensity and boundaries of a sensation in the body, still a highly cognitive, conscious process. From there, the sensation can be recalled or moderated, or even associated to other concepts or symbols.

In other words, in pronunciation instruction the body is the territory; designated locations,  measured sensations and movements across it are the map that must be in place before words and meanngs are efficiently attached or reattached. Setting up the map still requires . . .  serious drill and practice. Once done, feel free to channel your "inner Magpie", glitz, color, song and dance!

Original source: 
“Meaning-based guidance of attention in scenes as revealed by meaning maps” by  Henderson. J. and Hayes, T.,  in Human Nature. Published online September 25 2017 doi:10.1038/s41562-017-0208-0

Wednesday, July 5, 2017

Easy pronunciation change? You'd better believe it!

One of the most striking findings of research on teacher cognition about pronunciation teaching is that, especially those newer to field often believe it to be REALLY hard, difficult and intimidating (e.g., Burri 2017). There is less (much less) research on why that should be the case--or on how that can be best moderated, or prevented to any extent. We are talking here primarily about expectations.

As usual, my "go to" source for understanding how to affect pronunciation change is . . . sport. Pronunciation change is a physical business, one that from my perspective is best approached from that perspective, at least initially. But here is a case where the right "metacognitive set" can be enormously important, such as in the case of a new study by Mothes, Leukel, Seelig and Fuchs titled, "Do placebo expectations influence perceived exertion during physical exercise?" summarized by ScienceDaily.com.

On the surface of it, the research confirmed the common sense notion that expectations can dramatically influence performance. One feature of the study, for example, was that wearing great looking compression tights, and believing that they "work" makes exercise less strenuous or at least one's perception of effort. Being an enthusiastic wearing of that athletic placebo, I have been all in and a believer for years . . .

But how can this make pronunciation teaching and change easier?  Easy. What students pick up from you about pronunciation change impacts more than just their perception of how difficult it is. In other words, it is at least as much the fault of the method and the instructor's personal, professional presence as it is the learner's ability and L1 meddling. To paraphrase the great Pogo observation: We have met the enemy (of pronunciation change) and it is . . . us!

I'd recommend that you begin with some kind of compression top that gets the right message across, of course . . . probably not something like the message conveyed in the following from the forward to Orion, 1989 (quoted in Acton, 1992):

"Acquiring good pronunciation is the most difficult part of learning a new language. As you improve your articulation you have to learn to listen and imitate all over again. As with any activity you wish to do well, you have to practice, practice, practice, and then practice some more . Remember that you cannot accomplish good pronunciation overnight; improvement takes time. Some students may find it more difficult than others and will need more time than others to improve ( pp. xxiii-iv)."

It is "easier" from a haptic perspective, depending on the extent to which you Train the body first! (Lessac, 1967) in pronunciation teaching and project the right message both verbally and non-verbally. The key element here is the physical basis of change, not just pronunciation itself, the significance of the research to in our work. Conceptually, it is important that that distinction is kept in mind (and body)!

So, what do your class expectations for ongoing pronunciation improvement feel like? How do you create and sustain that? I'm expecting some great comments/insights to follow here!

You'd better believe it!

Sources
Hendrik Mothes, Christian Leukel, Harald Seelig, Reinhard Fuchs. Do placebo expectations influence perceived exertion during physical exercise? PLOS ONE, 2017; 12 (6): e0180434 DOI: 10.1371/journal.pone.0180434

University of Freiburg. (2017, June 30). Sport feels less strenuous if you believe it's doing you good. ScienceDaily. Retrieved July 4, 2017 from www.sciencedaily.com/releases/2017/06/170630105031.htm


Thursday, April 13, 2017

The elephant in the room: Body awareness in language (and pronunciation) teaching

In the previous post, I mentioned that we are considering proposing a colloquium at the next TESOL convention (in Chicago, in March, 2018) with the title of something like: Embodiment and the body in TESOL. That could bring together a wide range of researchers and practitioners, in addition to hapticians!

Now comes this neat little study of body awareness in elephants:  Elephants know when their bodies are obstacles to success in a novel transfer task by Dale and Plotnik of University of Cambridge, summarized by NeuroScience News. Basically, they demonstrated that elephants are very much tuned into the impact that their bodies have on their immediate environment. In the study, subjects were posed with a problem such that they could not pass on a baton with a cord attached to the mat they were standing on--without getting off the mat first.

To the apparent surprise of the researchers, that was a piece of cake for the elephants.

Body awareness is getting more attention lately, for example in discussions of  body image  by scholars and "body shaming", even at #Starbucks . . .

Clker.com
But now for the "elephant in room" that will be the topic of the colloquium: To paraphrase the title of the study: Researchers (and some instructors) don't know when (or how) their bodies are obstacles to effective pronunciation teaching. Not to pull the mat out from under current teaching methodology, of course, but the point of this blog for the last 7 years has been just that: systematic work with the body is ultimately the key to pronunciation teaching.

That almost certainly means the integration of "full body" methodology in computer-mediated or virtual reality environments. The technology is available to do that now, used primarily at this point in gaming, rehabilitation and the military.

So what do we mean by "the body"? Essentially, what is termed "embodied cognition", meaning that is based in some condition or movement of our physical experience. It can be gesture, posture or "regular" motion or movement in learning, but it can also relate to anything about the physical environment of the classroom, or the genders, identities or perceived body images of participants.

50  years ahead of his time, Arthur Lessac put it so well in 1967: Train the body first! Join us in Chicago (hopefully) next spring in passing on that baton! Something noBODY should miss!

Citation: University of Cambridge “Elephant’s “Body Awareness” Adds to Increasing Evidence of Their Intelligence.” NeuroscienceNews. NeuroscienceNews, 12 April 2017.
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Monday, December 19, 2016

Tired of just "horsing around" with pronunciation? Key principles of equestrian training applied to pronunciation teaching

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If you have followed this blog for a bit, you know that some of my favorite models for understanding key aspects of body-biased/haptic pronunciation teaching come from golf (Hank Haney) and horse training (Griffin, University of Kentucky), two disciplines where "training the body first" (Lessac) are a given. Recently I spent a pleasant evening with trainers of "cutting" quarter horses.

The commonality of effective training concepts was striking. One reason for that is that both disciplines require at least understanding of how to train the body, relatively independent of language and meta-cognitive involvement. Here are some of the principles from Griffin's list, along with my informal extrapolation to pronunciation teaching (in italics):

  • "Research has shown that horses work harder and maintain higher response rates when reinforcements are not on a predictable schedule. You should avoid becoming routine when reinforcing responses." Question: How do you reinforce appropriate pronunciation? My guess is that you have a very limited repertoire of responses, at best. Record yourself or have a colleague observe you in action . . . weep!
  • "Long, concentrated learning sessions are an inefficient method of training horses. A more effective training method is to have more training sessions per week of shorter duration. Work on different maneuvers each day. Refrain from repetitive drilling on a maneuver after the horse has learned it well." This is the gold standard of integrated instruction, especially with multi-level classes, requiring consistent preparation and follow up. That last note is especially revealing, what is known as the "delearning effect." (In haptic instruction that is particularly relevant.)
  • "Inherent emotionality is a horse's (general) psychological state.  . . . A good trainer quickly recognizes the emotional state of the horse and adjusts training regimens accordingly." Pronunciation teaching/learning is perhaps the most emotionally problematic aspect of language learning. Research (e.g. Baker, 2012) has established that a surprising number of instructors avoid pronunciation for that reason alone.
  • "  . . . An older horse may have a decreased learning performance, most likely because it has learned to ignore the type of stimuli often utilized in learning." This actually goes back to the first point: balance between variety and consistency. Pronunciation techniques have the (probably deserved) reputation of being boring in the extreme, with drill and meaningless "speaking" or oral reading. There are, of course, other ways to anchor new patterns and sounds. (See the right hand column, for instance . . . )
  • "Horses have very good memory . . . Recent research in this area has shown that horses learn to learn. The learn-to-learn phenomenon is simple: The more tasks a horse learns to perform, the easier it will be for that horse to learn new tasks. These new tasks may be tasks that the horse will never use, but they will aid in learning ability." This one is critical for pronunciation instruction: It is not absolutely essential that everything presented is recognized by learners as being immediately applicable or "relevant" to their use of the language. Learning, itself, enhances ability to learn, in effect. Recent research on "simple" memorization, for example,  has demonstrated that the very practice itself helps learners develop better memories and aptitude for learning in general--and memory for longer lists of procedural "steps" as well.
The parallel is remarkable. With the advent of more and more web-based instruction, learners are by default being forced to learn more by reading text and listening, along with often exceedingly "disembodied" speaking in response. Haptic pronunciation teaching, of course, is one approach, as are several others, requiring more or less instructor explicit management of body movement and presentation/control.

Saddle up!

Tuesday, September 20, 2016

What (a window into the brain of) the mouse can teach us about learning pronunciation

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Trigger warning: If you are especially attached to your mouse, you may want to skip over the third, italicized paragraph below . . . 

Fascinating research by Funamizu, Kuhn and Doya of Okinawa Institute of Science and Technology Graduate University, "Neural substrate of dynamic Bayesian inference in the cerebral cortex", originally published in Nature Neuroscience, summarized by Science Daily as, "Finding your way around in an uncertain world". (Full citation below.)

Basically, the study looked at how the (mouse's) brain uses movement of the mouse's body in creating meaning and thought. Reading the research methodology is not for the faint of heart. Here is a piece of the Science Daily summary describing it:

The team performed surgeries in which a small hole was made in the skulls of mice and a glass cover slip was implanted onto each of their brains over the parietal cortex. Additionally, a small metal headplate was attached in order to keep the head still under a microscope. The cover slip acted as a window through which researchers could record the activities of hundreds of neurons using a calcium-sensitive fluorescent protein that was specifically expressed in neurons in the cerebral cortex . . . The research team built a virtual reality system in which a mouse can be made to believe it was walking around freely, but in reality, it was fixed under a microscope. This system included an air-floated Styrofoam ball on which the mouse can walk and a sound system that can emit sounds to simulate movement towards or past a sound source.(ScienceDaily, September 16, 2016).

Got that? They then observed how the mice "navigate" the virtual space under different conditions, including almost complete reliance on body movement, rather than with access to any visual or auditory stimulus. The surprising finding (at least to me) was the extent to which kinesthetic memory or engagement took over, directing the mice to the "reward." There is much more to the work, of course, but this "window" into the functioning of the cerebral cortex is really consistent with a wide range of studies that point to "body-based" meaning creation and control.

So, what is the possible relevance of that to pronunciation teaching? (I never thought you'd ask!) Our work in haptic pronunciation teaching, for example, is based on the assumption, in effect, that "gesture comes first" (before sound and visual phonemes/graphemes) in instruction. (Based on Lessac's principle of "Train the body first" in voice and stage movement work.) For the most part today, pronunciation methodologists and theorists still see the role of gesture in teaching as being secondary, at best, an optional "reinforcer" of word-sound associations or a vehicle for "loosening up" learners and their bodies and emotional states-- or even just having fun!

What the "mice" study suggests is that sound, movement and vision are more integrated and interdependent in the brain than we generally acknowledge--or at least that movement is more central to meaning creation and retrieval. There are a number of body and movement-based theories that support that observation. In other words, the use of gesture in instruction deserves much more attention than it is currently getting. Much more than just a gesture . . .

Citation:
Okinawa Institute of Science and Technology Graduate University - OIST. "Finding your way around in an uncertain world." ScienceDaily. ScienceDaily, 19 September 2016. 

Sunday, June 26, 2016

Why pronunciation should be taught "separately" (and the 15 second rule)!

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The pendulum is swinging back, my friends. A central concern among pronunciation teachers is that what is "taught" in class, in whatever form, is so often not integrated well (or at all) into spontaneous speaking. One reason for that, I am convinced, is the general reluctance to correct spontaneous speech today.

This one is for all of you who teach a successful, stand-alone pronunciation course in the face of current theory that seems argue that pronunciation should generally be integrated in instruction, any skill concentration--not taught in isolation.

When a pronunciation problem just "pops up" in class, what do you do? Correction of pronunciation is again an important focus of research in the field. In fact, it is coming to be seen as more and more central to effective instruction. (From a haptic perspective, as developed in this blog and elsewhere, correction, especially during spontaneous speaking activities, is key to successful pronunciation work.) The other option, I suppose, is still that instruction is done so well early on that few errors in spontaneous speech occur . . . That was the dream of some early structuralist and behavioral approaches. They just forgot to factor in sufficient boredom and fear.

In-class instruction and practice is not sufficient in many contexts. Ongoing, effective feedback is essential. Research, however, has consistently revealed a strong reluctance on the part of instructors to correct learner pronunciation in any instructional context, in part a legacy of communicative language teaching and the current de-emphasis on pronunciation teaching in general (Baker, 2014; Saito, 2016).

Some of the most recent research on spontaneous correction of pronunciation in the classroom (See my blogpost focusing on delaMorandiere, 2016) has begun to point to two key features of effective correction (a) a link back to earlier instruction is "remembered." and (b) that link is used by the instructor in various ways, including a quick reference to the concept or explanation or reminder (or a question to the learner). In other words, correction works best when it is anchored back to an earlier consciously constructed schema, not just by a simple prompt, such as repeating the "correct" pronunciation.

So what does that mean in the classroom? Effective, corrective feedback on pronunciation generally depends upon good "prior knowledge" of the correct form that can be reactivated or reinforced . . . That does not suggest that rhythm, intonation and stress should not be attended to in other areas of language instruction; they should, if only to reinforce learning of meaning, structure and vocabulary. But to CORRECT some aspect of any of those, something other than or in addition to simply "repeat after me" has to be employed. In the case of adults, that should generally refer back to well-conceived explanation and focused practice, both controlled and meaning-based.

Now that can, for example, be accomplished by teaching one chapter of a student pronunciation text occasionally as part of a speaking or conversation course, but the experience of more and more intensive English programs, particularly, is that a designated pronunciation class that is used as a point of reference for all other instructors in the program to refer back to in in-class correction is far and away the best approach. In that context as well, research has identified the types of classroom interaction where such intervention by both instructor and other students is most appropriate (small group discussions, prepared oral readings, impromptu speeches, etc.)

To be in a position to intervene, interrupting the flow of conversation, generally requires an expectation that important errors will be addressed continually in an atmosphere of confidence and trust--and even collegial fun and support. Spontaneous error correction in pronunciation should be received with genuine appreciation and "uptake". The conditions for that to happen consistently are not that complicated but require for some a rethinking of the form of pronunciation instruction and its place in (virtually) every class. I think most would agree, however, that it is often exceedingly challenging to temporarily switch on and off that "safe" classroom mode or milieu in any setting other than one focused only on pronunciation. (Pronunciation classes are generally rated as the most useful and enjoyable by students.)

What research is suggesting is that effective "spontaneous" correction is very important to helping learners integrate changed forms--and that it is actually not all that spontaneous, in the sense that it relies on rapid recall of not just previously taught forms, structures, phonemes and specific words, but a concise, explicit understanding of the issue as well. That level of clarity can require more than just a brief note or simply drawing attention to a feature of pronunciation in class: a previously completed,  designated pronunciation class session or something analogous, such as complete modules, either online or f2f. 

That is a fundamental principle of most public speaking systems and, from our perspective, the Lessac method, upon which much of my work is based: explanation and practice must be carefully partitioned off from performance, so that errors in performance can be efficiently recognized at least post hoc (after the fact) and effectively recast by the learner in real time. For many pronunciation issues--and especially integration of change into spontaneous speaking-- that is best facilitated by a team approach as well, where the instructor briefly refers the learner back to not just the correct sound but also its structure and rationale (SSR), and the learner momentarily "holds that thought" and physically experiences what it feels like to produce words or phrases to be used more appropriately the next time they occur.

It is not necessary to do all three SRR components every time, of course, but the intervention used must in some sense reconnect to the in-class instructional experience in toto. Just repeating a word or phrase might accomplish that on some occasions, but the research suggests that more cognitive involvement accompanying a verbal recast is essential. I could not agree more, only adding that more somatic (body-based) engagement is essential as well.

The best option, I think, despite its limitations, is still something like the "traditional" pronunciation class taught by a well-trained and experienced instructor, where correction of all kinds, done right, is seen as immensely valuable and productive--and relatively speaking, stress-free!

Haptic work attempts to create the experience of that classroom by linking earlier training in systematic gesture to the pronunciation of the word or expression, which could also have been done in a separate class or class meeting or online, independently. The key is that it be conceptually partitioned off, by itself, without demanding thorough content and context integration, and also not requiring a  "seasoned" instructor to do the presentation, instruction and practice. (More later on the importance of such seemingly counter-intuitive conceptual partitioning to subsequent recall and utilization. In the meantime, consult your local neuroscientist or hypnotist!)

Try the 15-second rule: During spontaneous speaking and interaction with students, only pause to correct what can be effectively reconnected to previous (brilliant) instruction--which may include a bit of SSR--and practiced three times in 15 seconds. That will get you a better sense of how well your initial teaching of pronunciation "bits" is going, too.

However you approach correction and facilitating integration of pronunciation change, it should at the very least be more than just "spontaneous."




Sunday, May 29, 2016

Why does haptic pronunciation teaching work?

Good question! Here is an excerpt from the new Haptic Pronunciation Teaching - English (HaPT-E) Instructor notes. (If you'd like to preview the first 2 modules of the course (no charge) and get a free a copy of the Instructor Notes, contact: info@actonhaptic.com)

Essential Haptic Integrated Pronunciation Teaching (EHIEP):
  • Provides a principled way to integrate body movement into pronunciation teaching, "embodying" a number of techniques commonly used, some consciously, some less so-- emphasizing the importance of the kinesthetic, “felt sense” of fluent body movement and speech. 
  • Is HAPTIC!, using touch to make use of gesture systematic, consistent, focused and (relatively) "safe" and nonthreatening.
  • Focuses on intelligibility and fluency, not just accuracy, but can be used for accent reduction, if desired.
  • Integrates in basic voice training and public speaking skills --especially vocal resonance training--so that some improvement in vocal production is noticed relatively quickly by learner.
  • Uses vowels as the conceptual center of the presentation and practice system, establishing a conceptual and sensory space matrix in which (1) sounds and processes can be learned and adjusted, and (2) production can be consciously regulated better.
  • Is structured so that almost anyone, regardless of native language or learning style can learn it or learn to teach using it.
  • Hooks learners on the process so that they do their homework! (If done right, it is stimulating and refreshing, especially when done for at least 30 minutes, every other day!) 
  • Involves a set of basic, easy to learn exercises and techniques (warm up, vowels, word stress, rhythm and intonation) that are then integrated into classwork as the need arises. Seems especially effective in doing impromptu, incidental correction and modeling of pronunciation in classroom instruction.
  • Balances conscious analysis and “noticing” with contextualized drill and controlled practice; balances energizing, motivating activities with controlled, focused procedures.
  • Is more output-based system, encouraging earlier “safe” speaking and oral production than does many contemporary methods.
  • Is based on research from several fields in addition to pronunciation teaching, including public speaking, drama, music, haptics, sports training, psychology and neuroscience. 
  • Has been classroom tested over the last decade by hundreds of teachers. (Several empirical studies are now underway to better establish the effectiveness of the EHIEP method on more empirical, "scientific" grounds!)  
See also the YouTube summaries of the main modules from v3.0 (Not great video quality but reasonably informative.) 

Thursday, February 25, 2016

Body rhythm: the key to good pronunciation (teaching)

Gradually, neuroscience is catching up with great teachers of speech (e.g., Lessac, 1984, 1997) and pronunciation (e.g., Morley, 1979; Gilbert, 2010). It turns out that it is more than just a phonaesthetic accident that, in English, we list 'Rhythm, Stress and Intonation'--in that order. In Morley (1979) and Gilbert (2010) and most other student texts "stress" (at the word, phrase and sentence level) is dealt with first. Gilbert does not mention rhythm explicitly in the table of contents but slips it in systematically throughout; Morley does rhythm second. Lessac (1984) begins by training the body to move in new ways to the rhythms of speech and only comes back to making sounds later.

(Literally) any experienced teacher who does pronunciation well believes in the centrality of rhythm to fluency, and probably much more, including memory and perceptual processing. The "problem" has always been that the best arguments for rhythm-based practices have been experience or affect (motivating or promoting "flexibility" in some sense). The best evidence today still comes from parallel fields. For example:

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A new study examining synchrony in pairs of musicians by Zamm, Wellman and Palmer at McGill University, "Endogenous Rhythms Influence Interpersonal Synchrony"--in a more intelligible press release and in a ScienceDaily summary, "Find a partner who marches to the beat of your own drum: Group coordination is optimized between people with similar movement rates"-- provides a nice perspective on the place of rhythm in language teaching, and learning in general for that matter. In short, what they found was that those who have similar rhythms of speech and movement work better together. (So much for the "opposites attract" hypothesis!) Quoting Palmer in the SD summary:

"We think this could extend to interpersonal synchrony in other fields, such as recreational activities like jogging, where health benefits may be greatest when partners are matched for rates; or in education, when teachers and students are matched in conversational speech rates; and especially in sports, such as tennis doubles, pairs skating or team rowing," (Emphasis, mine.) 

Previous studies reported here and elsewhere have established that ability to move to a beat and perceive rhythm (but not simply tapping it out or clapping hands to it) seem to enhance skill or language engagement and acquisition, especially in children. The question, of course, is if, how and when adult learners (in class) can arrive at that synchrony and whether or not such coordination is more "innate" to individuals or can be taught. Lessac clearly believed and demonstrated the latter. Morley  and Gilbert see L2 rhythm as developing alongside or conforming to the L2 more gradually, or implicitly.

Whichever approach you take--and haptic pronunciation teaching is very much on the Lessac end of the continuum, requiring synchrony of body movement and rhythm continuously in instruction--to quote one of my father's musical icons (Duke Ellington): It don't mean a thing, if you ain't got that swing . . .


Citations:
Gilbert, J. (2010). Clear speech (4th ed.). Cambridge: Cambridge University Press.
Lessac, A. (1997). The use and training of the human voice: A bio-dynamic approach to vocal life (3rd ed.). New York: Drama Book Specialists.
Lessac, A. (1984). Body wisdom: The use and training of the human body, New York: Drama Book Specialists.
McGill University. (2016, February 9). Find a partner who marches to the beat of your own drum: Group coordination is optimized between people with similar movement rates. ScienceDaily. Retrieved February 25, 2016 from www.sciencedaily.com/releases/2016/02/160209121726.htm
 Morley, J. (1997). Improving Spoken English: An intensive personalized program in perception, Pronunciation, Practice in Context. Ann Arbor: University of Michigan Press.





Tuesday, February 9, 2016

Reconsolidation and accuracy: Drilling down into pronunciation teaching homework

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At a recent conference a presenter was at pains to argue that repetition drill does not accomplish much, if anything in pronunciation teaching. In response I asked to what extent might it make a difference HOW such procedures are conducted. The answer: Probably not--but we have no empirical studies on "variability at that level of instruction that I'm aware of."

Researchers and professionals in any number of fields that work with motor skill development know better. To the extent that L2 pronunciation is a motor skill, two intriguing new studies suggest something of what is involved in effective drill and practice.

The first, by Wymbs, Bastian, and Celnik, "Motor skills are strengthened through (memory) reconsolidation", (Summarized by ScienceDaily) suggests that if you practice a slightly modified version of a skill that you want to master, you actually learn more and faster than if you just keep practicing the exact same thing multiple times in a row.  The second, by Castellanos and colleagues at Drexel University, "Surgical trainees retain information, master skills better when honed beyond proficiency" (also summarized by ScienceDaily) looked at  how "overlearning" figures in to skill development.

Here's the fascinating parallel to pronunciation work. It is almost a given today that the goal of pronunciation instruction should be intelligibility--not accuracy. If students go further personally, good deal, but it is not our responsibility to help them or encourage them in that. Furthermore, "physical" work with pronunciation is generally not seen as being as essential as is metacognitive engagement. In other words, our first priority must be providing as much explanation and insight as possible. With that, a good percentage of learners will pretty much on their own get close to intelligibility. And I think is probably true, in fact.

But the research studies seem to tell us that to even get to "intelligibility" most need to go beyond it--and have to do that with at least varied physical practice. This is a great example of the "Product equals process" fallacy. In other words, how you get to, let's say an acceptable, functional spoken use of the consonant, th, for example, may not be theoretically consistent with the final goal, itself. In other words, "enlightened" drill, as disconnected from authentic interpersonal communication as it can be, is simply essential for most learners, if they are going to finally land on the high side of intelligibility.

One of the principles of the Lessac system is that pronunciation must be "drilled" extensively as homework--but not consciously integrated into spontaneous speaking. When done right, as I have seen literally hundreds of times over the years, the new, improved sounds just begin showing up in conversation. Learners are trained to recognize miscues and changes but not to emotionally react to them; just note them.

I am working on a presentation for the annual BCTEAL Island Regional Conference next week: Do your homework, which I will report on later. Those two studies, along with Lessac, suggest a great deal as to how we should structure and manage effective pronunciation homework.

Citations:
Johns Hopkins Medicine. (2016, January 28). Want to learn a new skill? Faster? Change up your practice sessions. ScienceDaily. Retrieved February 5, 2016 from www.sciencedaily.com/releases/2016/01/160128130955.htm

American College of Surgeons. (2015, October 6). Surgical trainees retain information, master skills better when honed beyond proficiency: New study finds that overlearning can be a highly effective surgical training approach that shortens the learning curve. ScienceDaily. Retrieved February 9, 2016 from www.sciencedaily.com/releases/2015/10/151006144518.htm

Friday, April 10, 2015

Love your English Consonants Repair Workshop!!!

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This is big. I love English consonants, most all of them. I didn't always. My relationship with them changed when I was introduced to Lessac's Use and Training of the Human Voice. In Lessac's system each consonant is identified with a musical instrument of the (classical, Western) orchestra. To "do" the consonant, then, the student "impersonates" the instrument, perhaps even by acting out the
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movement associated with it. (My favourite, by the way is the N-trombone.)

Our haptic approach takes Lessac as a point of departure and adds touch and conscious attention to movement in various ways. Of course, most good consonant work entails some degree of tactile and kinaesthetic awareness. (Speech therapists have an advantage on us in being licensed to actually touch their patients! We use coffee stirs instead!)

May 23rd, 2015 at the BCTEAL Annual Conference at UBC in Vancouver, BC we'll be doing the FIRST Consonant Repair Workshop EVER! We have been trying to get this proposal accepted at a conference for several years now with no success. (I do not give up easily!) The basic comments from reviewers have often been something to the effect of: "Who cares?" "Segmental issues (vowels and consonants) are not that important." "Not a high priority!"

That attitude is changing, as research points out how for some learners from diverse L1's (such as Vietnamese) certain consonant issues can be exceedingly disruptive to intelligibility and need to be addressed early in instruction.

Join us!

Here is the abstract:

This workshop presents haptic-based (movement plus touch) techniques for improving pronunciation of select English consonants. Depending on participant preference, included are: th/th, f/v, l/n, r, s/z, sh/zh, y, w, voiced final consonants and initial consonant aspiration. It is appropriate for relatively inexperienced instructors of middle-school age learners and older.

Saturday, May 4, 2013

I love it (and me) when I say it that way: Affirming pronunciation errors

The role and impact of mispronunciation are multi-faceted, from how society perceives the lack of fit to the L1, to the learner's attitude toward such forms and how it affects everything from identity to ability to recognize the problem and attempts to improve. The stance of most contemporary theorists is to attempt to downplay the need for high levels of accuracy and help the learner feel more comfortable with errors and general risk-taking, especially if they are clearly developmental in nature, reassuring all concerned that either things will get better soon with some attention to pronunciation-- or society will  eventually "mature" and be more accepting.  

Clip art: Clker
Now assuming that assuming a more "healthy" attitude toward your errors is beneficial . . .  (Who could argue with that or define adequately what that might mean?) . . . how would you, as instructor, best facilitate that? Recent research by Legault and  Inzlicht of the University of Toronto, and Al-Khindi of Johns Hopkins University, reported in Science Daily, looking at the impact of self-affirmation on response to, and productive engagement with, mistakes, suggests some classroom strategies that may be helpful. In the study, subjects that did a paper and pencil exercise where they listed and briefly justified what they identified were their most important values were subsequently able to perform better on a task that required responding quickly to errors and making appropriate adjustments. (Another treatment group did a similar values-based task but focused, instead, on why the values at the lower end of the ranking were not that significant for them. )

Here is where the Cognitive Phonologists and many contemporary embodiment theorists have it absolutely correct. There are any number of good techniques for setting up that "affirmative" frame of mind or attitude, not just toward errors, but general L2 identity. In AH-EPS, the precision upper body movements and vocal resonance should serve something of the same function. (Our students consistently report tangible changes in self-confidence and "body image.") You're going to love it when you do it this way--make no mistake about it!




Tuesday, April 9, 2013

Why practicing pronunciation in a group is better than doing it just in your head or alone in the lab

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For over 40 years I have done what I could to create social experiences for students for pronunciation practice. For a time I played with ways of sending them out into the neighborhood for conversation or ersatz research projects, etc., but ultimately it came back to either practicing in class or having them assemble outside of class in small groups, pairs, trios or quartets, to practice together. We're not talking here about preliminary training with vocal sound resonance and practice word lists used for basic change, as prescribed by Lessac (1967) and others (e.g., Acton, 1984).

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Social learning theory or "social cognitive" learning theory as it is now referred to has always been the theoretical basis for that from my perspective. (Nice web-based source there from the University of Southern Alabama.) Granted there are students, maybe 5% or less, who can somehow repeat a new sound or lexical item over to themselves a few times and then it almost magically begins to show up in spontaneous speech. (Have done some blog posts in the past on those "freaks" of linguistic nature. If you are one, my condolences.)

SCLT argues that learning in social context is critical to subsequent efficient functioning. (Notice that I said "efficient," not "effective.") The "behaviours," in our case, new or changed pronunciation, are so intimately tied to the learner's social and psychological make up and identity that socially appropriate performance of them later is predominately a question of experientially  "returning" to scene of the initial practice (emotionally, at least) for access to the new skills or words.

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In the new AH-EPS framework, it is recommended that students do homework in groups if at all possible, viewing and moving along with (mirroring)  the 30-minute haptic video homework practice lessons. As powerful as the video experience is, the impact of being capable of or learning to move and speak comfortably in public is enormously important. That is part of the reason that I do not recommend working on advanced pronunciation and accent in one-on-one settings, but preferably in groups of six or more.

See Acton (1984) and the--VERY SOON FORTHCOMING LATER THIS MONTH--AH-EPS Instructor's Guide and Student Workbook for more on the specifics of that and how to build it in systematically into pronunciation homework assignments.

Keep in touch . . . especially as you practice your new pronunciation!