Essentials of haptic-integrated English pronunciation workshop(s) and I.M.A.HICPRO

                                        Mike Burri, Karen Rauser, Brian Teaman and I have submitted the following proposal to do a workshop

on Tuesday or Wednesday prior to the 2013 TESOL conference in Dallas. Chances of it being accepted are so-so, best case, but hope springs eternal, eh . . . (Actually, this basic workshop is ready to go anytime, so if you'd like one done at your school by the "H Team," let me know!) 

"This day-long, pre-conference Institute presents a haptic (movement + touch)-based approach to essential, integrated pronunciation instruction, applicable for learners middle-school age and above--designed for use in all skill areas. Especially appropriate for non-native English speaking instructors, one key innovation is the use of touch to enhance both learning and recall. Materials provided include a DVD of techniques presented." 

If it is accepted and we decide to do it, join us. If it isn't--or we don't, we'll probably put it on in a hotel nearby, regardless, in conjunction with the initial meeting of the (currently and somewhat tentatively entitled) International Madcap Association of HICPRO (Haptic-integrated Clinical Pronunciation Researchers & Outliers)--verbalized proudly, something like: "I am a hick-pro!" Keep in touch.

TESOL 2013 in Dallas (March 20-23, 2013) Proposals due!

Clip art: Clker

June 1st, in fact! I'm working on (a) a one-day, pre-conference institute proposal on haptic-integrated pronunciation instruction, as usual. (That has been turned down now four times but hope springs eternal!), (b) a workshop on integrating pronunciation change into spontaneous speech, (c) a reprise of the haptic dictionary demo from 2012 (That went just great but the title was clearly not zippy enough!), (d) one workshop being prepared by graduate students on NNEST intonation teaching and (e) another student demonstration or poster session on "haptic-integrated or embodied L2 identity," and (f) a workshop on haptic-integrated vowel instruction. I am only the lead presenter on the PCI. Also, will have the entire haptic-video system available for download by then and am planning a HICPR (haptic-integrated clinical pronunciation research) meeting in the networking area at the conference as well. How about you? If you are considering submitting something "haptic," let us know! Keep in touch! 

Keeping your pronunciation teaching house in order (the Martha Steward checklist approach!)

Following up on the previous blogpost on PTC, I came upon yet another kind of capital, what let's term "Integrated House Keeping Capital!" And where better to find out about that then at the "Source," Martha Stewart! Check out that deceptively simple, 6 Things to do Everyday Checklist. All six TBDs represent principles of system integration that work regardless of context, especially where it is critical that attention and time be managed efficiently. Let me interpret the application of those to our work: (This is, of course, really obvious in some respects, but the specific connection to haptic-integration is worth foregrounding.)

Clip art: Clker

Photo credit:
Martha Stewart Living

• Make the bed - (Tidiness begets tidiness.) The interplay between planned integration and impromptu anchoring of "targets of opportunity" such as mispronunciation of a key word during discussion is critical.
• Manage Clutter - (Insist that everyone . . . do the same.) Especially visual clutter is often toxic to haptic anchoring.
• Sort the Mail - (Keep a trash bin near . . .) Skill at strategic decision making as to what to anchor or correct in the course of spontaneous classwork develops with experience. That is, in fact, one of the best indices of "time in grade." 
• Clean as You Cook - (Don't "sink" too much!) Ultimately, the simpler, more focused interventions and corrections of pronunciation are optimal. Simple "pointing out" or "noticing" is generally at best a waste of time, potentially leaving more distraction than lasting anchors. 
• Wipe up Spills while They're Fresh - (e.g., sauce and make up!) Context, context, context. Timing, timing, timing. 
• Sweep the Kitchen Floor when you're done - (Makes mopping up much easier!) In addition to having a good closer and picking up loose ends, especially with haptic interventions, "seal off" the felt sense of the lesson so that learners are not "sinking about" the anchored sounds or words as they walk out the door. (See earlier posts on effective in- versus out of class practices.)  

EHIEP Protocols: What are they and why "protocol" anyway?

Clip art: Clker

Got an email recently asking me that question. A good place to begin is the medical definition: protocol [pro´to-kol]

1. an explicit, detailed plan of an experiment. I love that one!

2. the original notes made on an autopsy, an experiment, or a case of disease. Sort of like this blog!

3. a detailed written set of instructions to guide the care of a patient or to assist the practitioner in the performance of a procedure.That is a great fit to an EHIEP protocol! 

Update: There are now currently 9 basic and 6 optional protocols in development, each providing one or more techniques for classroom instruction or independent study. Each of the main protocols involves a 30-minute haptic-video lesson (composed of 4 video clips) and 3, 15 minute haptic-video homework assignment videos:

• (Optional) EHIEP system introduction
• Warm Up Protocol (WUP)
• (Optional) Body Flex Protocol (BFP) 
• Matrix (visual field) Anchoring Protocol (MAP)
• (2 basic; 2 optional) Vowel and Word Stress Protocols (VWSP)
• (Optional) Vowel Resonance Protocol (VRP) 
• Rhythm Group Butterfly Protocol (RGBP)
• (2) Intonation Touch-i-nami Protocols (ITP)
• TaiChi Fluency Protocol (TFP)
• Rhythmic Feet Fight Club Protocol (RFFCP)
• (Optional) Baton Integration Protocol (BIP) 

There are also 8, 5-minute Consonant "Protocolettes" (th, r, l/n, f/v, w, y, s/z, sh/zh) haptic-videos.
Each complete protocol includes 7 short video clips: (a) Demonstration, (b) Training, (c) Rhythmic practice, (d) Classroom procedure, (e) Homework 1, (f) Homework 2, and (g) Home work 3.
Each protocol includes Instructor guidelines and Student workbook. The complete system will be available later this year. The videos will probably be downloadable from iTunes or a similar web source. The system is designed for the relatively untrained instructor, equipped with only video player appropriate for the class size of some kind. The demonstration clips and some of the consonant protocolettes will be available here (for free!) soon. Keep in touch. 

The secret to sticking 3-second pronunciation anchoring: timing

Clip art: Clker

Clip art: Clker

A favorite quote from another of my heroes, Robert Reed, former forward for the Houston Rockets pro basketball team: "There are 3 secrets to success in basketball: Timing, timing and timing." In a comment to the previous post on visual anchoring, Smith points to the critical role of timing in multiple-modality instruction. To get the perfect picture of timing, leave it to a pro--like Reed! What could be a better source than a 1.25 minute Youtube training video on learning how to "stick" a free throw? (If due to lack of experiential grounding on the court your mirror neurons don't instantly get the analogy, try reliving an intricate, "Wowee!" Texas 2-step move with your BFF, effortlessly driving a ball 10 yards further than ever previously off the first tee, or sliding an absolutely perfect omelet into the middle a romantic breakfast made in heaven . . . ) Timing. Notice the principles laid out in the video: (a) "physical mechanics, mental mechanics, rhythm and timing" (b) minimizing movement--which minimizes the chance of error, and (c) timing to maximize consistency. Next, the steps: (a) Complete pre-shot routine, (b) Take a deep breath, (c) Do the shot in 3-seconds (See blogpost before last!), which involves three distinct movements (elbow positioning, knee bend and follow through.) That basic framework "works" for almost any HICP pedagogical movement pattern as well: Focus (mental and eye fixation)--Breathe in--Hand positioning--Breathe out and Move one hand across the visual field--and Touch and follow through, in 3 seconds! Put that on your Swish! list!

3-second hugs and pronunciation practice!

Talk about short attention span. Turns out that most everything we do as humans (and the same applies to animals) is processed at some level in 3 second chunks--even hugs. Research in language development and use confirms the same principle: relatively short chunks of speech or text are fundamental to understanding. What is fascinating about that study and others like it is what it may tell us about how to best present and work with language, especially pronunciation. In other words, if we want something to be "absorbed" or anchored well, there is an optimal packaging, rhythm or even visual configuration. There is in fact, as shown by studies of learning and training in various disciplines. As elaborated in several earlier blogposts, HICP is based on the idea of using "pedagogical movement patterns (PMPs)," hands moving through the visual field with one touching the other on prominent syllables. None of the PMPs are 3 seconds in duration but the time interval occupied by one such action, including the "silence" preceding and following certainly fits within that model. A sentence or phrase may be longer than 3-seconds, of course, although for conversational interaction, at moderate speaking pace, that can be pretty demanding for beginning and intermediate learners, but it will typically still consist of two or more PMPs when practiced--reflecting basic conversational rhythm. Just imagine--in some other less interpersonal touch-averse culture and time--a typical "hug-as-haptic-anchor" used in the classroom with the "peak" squeeze occurring on the prominent syllable of a utterance being articulated such as "How wonderful to have interACTed with you in class today, Joe!"

See what it feels like? (How haptic anchors work.)

Clip art: Clker

Clip art: Clker

In a fascinating study by USC researchers, it was demonstrated that, " . . .‘feeling with the mind’s touch’ activates the same parts of the brain that would respond to actual touch . . . this suggests that human brains capture and store physical sensations, and then replay them when prompted by viewing the corresponding visual image." Haptic anchors, as used in HICP work, generally consist of one hand touching the other at specific location in the visual field as a word is articulated. (The learner may or may not be simultaneously looking at or visualizing the orthographical representation of the word or phrase as well.) When that anchor is recalled later, for example by a student in the class observing the instructor perform the anchor in response to an error in pronouncing the target sound, the research would suggest that that visual image should serve to activate in the brain of the student the physical sensations of both the touch event and the body-based resonance in the upper body and vocal track associated with the word--and possibly the alphabetic representation (letters) as well, depending on the cognitive preference of the learner. I can see you are getting a feel for it already . . . 

Bilingual teenage brain stems listening comprehension!

Clip art: Clker

Clip art: Clker

Here is a Science Digest summary of a fascinating study on the advantages of being bilingual just published. (This is one of those pieces that I could go off a dozen directions on and really have fun with--but I'll try to "stick to the facts," regardless!)  In essence, it was discovered that the brain stems of bilingual subjects were significantly better at sound/pitch discrimination than monolinguals in one context: when the sound was strongly masked with static or white noise. The researcher notes some pretty amazing implications of that: "The bilingual's enhanced experience with sound results in an auditory system that is highly efficient, flexible and focused in its automatic sound processing, especially in challenging or novel listening conditions," and " .  . . evidence for system-wide neural plasticity in auditory experts that facilitates a tight coupling of sensory and cognitive functions." [italics, mine] Wow. The study does not explicitly establish that "tight coupling," although in terms of general understanding of the function of the "reptilian" brain stem (in addition to managing emotional response), that case can be made rather easily. But teenagers "paying attention?" Really? This may suggest one way around some of the  "critical period" problem in pronunciation or accent development: enhanced (full mind-body) attention training. Now let me think . . . how could that be done? Keep in touch.

Correct pronunciation! (Don't "baby" them!)

Photo credit: REX / The Telegraph

Sometimes it is simply fascinating when a research study on speech development "goes viral" on the internet--and comes out on various "news" sites. Here is a wonderful example. A 2011 study by MacDonald et al (Technical University of Sweden) found that " . . . toddlers' speech didn't change in response to altered feedback, suggesting that long-held assumptions regarding the role of self-perception in articulatory development need to be reconsidered." Really? Collins, in the Telegraph online, takes from that the lead line that "Parents 'should correct toddlers' pronunciation.'" Conley, on ABC online, on the other hand, cites the researcher as saying that parents should, instead, not correct toddlers' pronunciation, but be patient, provide a rich language environment, and wait until their child gets to age four or so. My first guess is that there is a parallel process or benchmark with adult learners as well, when a window on correcting of pronunciation opens--and then closes not too long after for most. The research on correction of adult L2 learner pronunciation is all over the map, from seemingly effective in the lab (at least in the short term) or under extreme repetition, to of little or no value if (simply) modelled by the instructor. My second guess, as addressed in several earlier posts as well, is that some of the problem is how we--and the researchers in the study cited--define "self-perception" of pronunciation--as primarily auditory. How you feel about that makes a great difference. Haptic-integration. If you don't understand self-perception of pronunciation (at least in speech production and change) as fundamentally body- or somatically-based, you need to correct that . . . 

Mixed "modal" arts in HICP (Haptic-integrated, clinical pronunciation)

Photo credit: mma-training.com

Even if you are not a big fan of Mixed Martial Arts, you almost have to admire the focus on bringing to the ring superb, full-body conditioning and an amazing set of tools (techniques) derived from several traditions: boxing, wrestling, jiu jitsu, Muay Thai, weight lifting and others. From a "professional development" perspective, these people get it; enhanced conditioning and development of new techniques are simply part of the job. Having listened to a couple of recent interviews with top MMA fighters, I was struck by what avid learners they are--and what extraordinary body awareness and fine tuning is required. (The imaginary MMA fight scenario on the linked page could as well be describing one's deteriorating state of mind and body in a late afternoon ESL class!) The ways in which they characterize or explain the relationship between practice and conditioning outside of the ring and successful performance in it were extremely detailed and systematic. The parallel to effective HICP work or speaking and voice instruction in general is worth considering. I always recommend that instructors who use EHIEP protocols (techniques) in their classes should practice them regularly, themselves, both in class and out of class. (I, myself, do a basic set of about a dozen techniques most mornings.) Part of the reason for that is that the (Lessac-inspired) procedures are not only designed for in-class modelling and correction, but also for cultivation of what Lessac referred to as "Vocal Life," overall voice quality and body flexibility, along with an accompanying attitude of openness to learning and exploration. In the PEPI model, that means beginning your day with a cup of coffee at 6 o'clock (on the circumflex) and going counterclockwise. For example, starting with (a) EHIEP protocols, or yoga or exercise, then (b) prayer, meditation or reading the paper, then on to (c) planning your day's priorities, and then (d) setting out your concrete action plans. By the time you get back around to (d), 9 'clock, you'll be ready when the bell rings .  . . 

Modelling in pronunciation instruction

Photo credit:
 Bobpardue.com

In working with directed body movement, especially upper body gestures and haptic anchoring in pronunciation teaching as we do, the model presented to students is vitally important. The EHIEP approach is based on the principle that the initial model for learners should be provided on video, not by the instructor, him or herself, at the front of the class. (You can either use EHIEP Youtube videos, such as those linked off this blog--or those that will be available in the near future as a complete package--or you can simply make them yourself!)  Follow up, of course, can be done from the front or wherever, once the visual and haptic model is established. In other words, you don't have to be a model to model . . . but there is much we can learn from those who do. Here are the seven principles for becoming a fashion model from Marieclaire.com: (My comments are in italics following each!)
A. Do your research - To do process-experiential work takes a good understanding of how experiential learning happens and especially the typical benchmarks involved. 
B. Be prepared - Once students have some initial practice of the pedagogical movement patterns, to then exploit those in class requires that the instructor have done some serious practice outside of class in preparation. For some "kinaesthetically gifted" instructors, however, just learning the protocols along with their students is sufficient!
C. Make your portfolio "picture perfect" - As noted in earlier blogposts, having a very clear, consistent visual model to practice with for some learners is critical. For others (probably 75%), any close approximation is fine.
D. Be yourself - If using directed movement with the class does not fit your style of personal presentation in the classroom, just assign the videos has homework. (Again, either those available online or homemade ones are good enough.)
E. Smile for the camera - Once you get going with haptic-integrated work, video yourself several times doing the techniques outside of class to see what your visual model looks like to your students. It may require a little reflection and practice to present a comfortable, confident image that will convey the haptic anchoring efficiently and professionally. (Of course that is a good principle for developing your model in ALL classroom instruction!)
F. Speak up! - Coordination of voice and directed pedagogical movement patterns takes a little practice. Initially, your voice may sound a bit artificial, as you focus more on getting the movement right, rather than being reasonably authentic and expressive. But it comes quickly!
G. Read before signing on the dotted line! -  Like any teaching methodology, PEPI requires both informed understanding of the concepts involved and concrete, physical experience with it to be able to work with it successfully. "Just do-ing it!" is not enough . . . You (or at least your body) has gotta love it as well! 

How NOT to assign English sentence stress and intonation

Clip art: Clker

In more than a few respects, the non-native speaking instructor may have a distinct advantage over the native speaker. Keeping the PEPI framework in mind, here is an example from three years ago that changed my approach to teaching sentence stress, both how to determine it and how to teach it.

I had a native speaking grad student in the MA TESOL who had very little background in linguistics and grammar--more the rule now, rather than the exception. We were doing the standard type of exercise where you are handed a dialogue and asked to underline sentence stress and intonation, based on the typical set of simple rules found in student textbooks, such as this one. What was amazing, was that he would generally underline 2 or 3 times the number of words in a sentence and then indicate that ALL of them had a RISE-FALL intonation "move" as well.

The nonnative speaker sitting next to him, on the other hand, was able to consistently get it "right," at least in agreement with me. His frustration was understandable. Regardless of how much he practiced, his performance not only did not improve, it seemed to get worse. Finally, just before the next quiz, I asked him the right question: How do you go about figuring out where to put stress? His answer: I just say it to myself and underline the words that have more energy on them. Wow.

A few days later, he aced the quiz and became one of the very best at assigning stress and intonation. His solution: Suppress his "inner speech"--and stick with the simple rules and grammatical structure, along with aiming for the most direct, unmarked (lacking contrastive stress) interpretation in that conversational context. Once those focal or prominent locations are identified, THEN haptically-integrate and anchor them affectively or emotionally.

In other words, begin with structure, go to context, anchor stress and intonation--and then pile on attitude! In the PEPI model: UP to LEFT to DOWN to RIGHT. I realize that may sound a bit counter to current "top-down" discourse models for initial prosodic assignment--my own, included! The EHIEP model, however, is designed for the nonnative speaking instructor first--not the linguistically sophisticated (or informed) native speaker.

For those highly auditory native speakers without linguistic training or the emotionally "off-the-charts," it also works like a charm. For nonnative speakers, most of whom do grammar in the extreme already, it clicks immediately, often giving them at least an initial advantage and forcing them to move on to context and mood. Counter-intuitive (and counter clock-wise)? Perhaps. But "PEPI-gogically," on target!