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

CAST away stress: The Forest Walkabout-Talkabout

If you are going to be at the 2023 BCTEAL Annual Conference on May 5th (at 11 a.m.) at the University of British Columbia, please join us, Angelina Van Dyke and myself, for a casual stroll together, with delightful accompanying conversation through the Arboretum for about an hour. 

The teaching technique demonstrated, the "walkabout," is based on two other techniques: CAST (Collaborative Attending Skills Training) and the "walkabout," a feature of Australian culture made popular by the movie, Crocodile Dundee, when the leading actor, reported having had his marriage come apart some time back . . .  because he had gone out for one in the "outback" . . . for three months! (Have reported on that technique earlier on the blog, as well.)

The CAST system, also described on the blog earlier, focuses on teaching ELLs of almost any proficiency level to carry on conversations in groups of three or four, using "attending skills," where one student tells a good story, a second facilitates the conversation, and a third takes notes on the conversation. After three or four minutes, the conversations stop and the instructor then goes around to each group and elicits examples of effective conversational discourse strategies. 

In this case, students and teacher walk through the forest for about 5 minutes as students, in the small groups, walk and talk, attending to their mutually constructed stories. They pause for about 10 minutes, reflecting on the strategies used by the attender in supporting the story teller's story, and then set off again, with three other students taking on the CAST roles. The effect is dramatic, even in the relatively short 60-minute session. (The Walkabout - Talkabout works best when carried out for about 90 minutes--or more!) 

(Note: Come prepared with a good little personal story to share, one known only to you that you can share in about 3 or 4 minutes!) 

Touching teaching of expressiveness!

Photo credit:
discover-victoria-island.com

On February 21st, at the 2015 BCTEAL - Island Conference, Professor Aihua Liu of Harbin Institute of Technology, a visiting professor here at Trinity Western University, and myself, will be doing a workshop entitled, "A touching and moving approach to teaching expressiveness."

Here is the program abstract: 

In this practical, “hands on” workshop, a haptic-integrated (using movement and touch) classroom-tested system for teaching conversational intonation and expressiveness will be demonstrated and practiced by participants. The 8 basic techniques include 5 for intonation and 3 others for adding on changes in pitch, pace, volume and discourse foregrounding.

And the detailed summary:

Teaching English intonation can be challenging for any language teacher, due in part to the unique uses of intonation patterns at the discourse level.  Although pronunciation textbooks for students generally present basic intonation patterns with practice activities, that is, of course, only the beginning. It is one thing to be able to imitate or use a simple rising intonation contour on a type of yes/no question or a falling pattern on a simple statement, but it is still quite a leap to expressing a wider range of emotion in speaking.

The haptic model presented has students initially speak along with a model or instructor when working on a new or unusual stretch of expressive speech. Rather than just speaking the sentences, however, learners gesture along with the model to enhance their ability to not just produce but recall more accurately the “extra” features of pitch, pace, volume and discourse focus (or foregrounding).

The workshop is based on principles of “Essential haptic-integrated English Pronunciation,” developed by Acton and colleagues. Participants are provided with guidelines for using the framework in classes with teenage and adult learners and given access to video models on the web of the techniques presented.

Join us, if you can!

Aerobic Haptic Breakout #3

Here is the 3rd of 3 "Aerobic Haptic" break out sessions done last weekend at the BCTEAL conference.  Here is the Rhythm Fight Club presentation and the outline of what is going on from the conference handout:

Pedagogical

• ·      Increased speed of delivery
• ·      Produces greater processing time
• ·      Unstressed Syllable "compacting" (stressed syllable lengthening)
• ·      Contrast between stressed and unstressed syllables

Common sense

• ·      Releases frustration, tension, aggression!
• ·      Enhanced assertiveness
• ·      Confidence builder; creates a new "persona" for some
• ·      Impacts conversational delivery rapidly, within days
• ·      Energizing, just "fun!"

Brain-friendly

• ·      Bilateral stimulation
• ·      Switching effect on hemispheric interaction
• ·      Executed in lower visual field (affective loading)
• ·      Synchronizes body rhythm with syllable rhythm
• ·      Strong textural anchoring (wadded paper in hand) with crushing, fist

The revenge of the canonical and "why the haptic in HICP?"

Clip art: Clker

On a pronunciation-related discussion board, Gary Carkin, Chair of the Spech-Pronunciation-Listening Interest Section in TESOL--and drama instructor, makes a very interesting point. (See the link to Gary's website on the sidebar.) The topic related to how to teach "attitude" along with intonation:

 " . . . Getting students to express that intent through their intonation and stress, slowly ingrains a habit. It takes a lot of repetition and is a slow process, but at least it is likely to stay with them more than when the problem is simply explained to them because they are feeling what they need to express (through character) and how that feeling will be successfully expressed . . . " 

One aspect of pronunciation teaching where explanation, good explanation, is critical is in working with the canonical in conversational discourse, that is the regular or expected locations in conversation where words are stressed and attitudes are relatively transparent. (See these examples of canonical poetry, that is basically more traditional poetry with regular rhythm patterning.) That generally indicates new or foregrounded information in English. Students' ability to even begin to interpret instances where sentence stress does not fall where anticipated depends, first of all, on having what Carkin terms a "feeling" for the canonical. 

One of the most serious shortcomings of much classroom work on focus and attitude today is the tendency to attend to explanation and the exceptions before the canonical is sufficiently established, creating a chaotic mix for the learner and no real basis on which to quickly identify the non-canonical, and, pulling back to the overall intent of the conversation momentarily, take a guess at what is up. That requires two things in tandem: First, as Carkin notes " . . . repetition" (exactly how much and when is the key question here) and an understanding of why it lands there. The latter can only be done in the context of a conversation, not in isolated sentences. Second, the feeling has to be anchored well. 

A clear (proactive, cognitive) framework for learners, along with haptic anchoring at least makes the process more efficient for those who do not learn as well inductively. (For those gifted "inducters" who can, drama is the only way to get it!)  With that balance "in hand," repetition, listening, drama--even habits(!), become more potent and engaging. So, ignore the canonical at your peril . . . most everything depends upon it. 

Walkabout talk: The TalkaboutWalkabout

Clip art: Clker

While in Japan, while teaching speaking classes of 50+, I developed an effective (primarily kinaesthetic) technique called the "TalkaboutWalkabout," inspired by the movie, Crocodile Dundee. (It has been cited in several methods texts.) Basically, students prepared a couple of good 3-minute stories that they could tell to fellow students using an attending skills format (See earlier posts.) as homework. In the two-hour class the next day, after some initial warm up, students walked around the perimeter of the room continuously for the next 90 minutes or outside in a larger fixed loop around campus, telling their stories and listening to the story of another student--switching partners every 8 minutes (about 10 times). In effect, each student told each of two stories four times and heard eight others.

Back then I was not working with explicit haptic anchoring but it was remarkable how the pace of the walking came to regulate the rhythm of speaking, and how relaxed and fluent the conversations became. By the end, students were invariably struck by how "good" they felt about speaking English. The "felt sense" of the walkabout that they had "discovered" became our model or metaphor for how good discussions should "feel" as well.

There are, of course, any number of possible explanations for why that technique may work, several have been introduced here earlier, including jogging, but this quote from a holistic medicine website, connecting up to the function of the (somewhat mythical) Australian walkabout of Dundee,  presents an interesting perspective on some of what is involved: " . . . a journey of healing and rediscovering the link between mind, body, and spirit." The effect in your class might not be quite that heavy duty or "anchored," but I can guarantee that it will at least provide a great deal to "talk about!" 

A moving and touching example of the power of prosody . . . and good acting!

Clip art: Clker

You may have seen this already but it is a great piece. Reminds me  a recent conference presentation that  I felt compelled to sit through . . . Because the words are recognizable and the rhythm and intonation of the conversation are so "comfortable" and "intimate," the native speaker's brain will keep trying to turn it into a story of some kind. The power of prosody . . . and (near) haptic video!

Cooperative Attending Skills Training for ESL students and haptic feedback

Clip art: Clker

I was not aware that this article by Corrine Cope and myself from 1999 on "attending skill" training was still accessible. (The linked Eric version is a relatively poor quality pdf, but still readable.) It provides what I think is still an excellent framework for creating very focused, peer monitoring group conversation where students can work on integrating in new and corrected sounds or words or phrases or strategies into their spontaneous speech. I have used some version of attending skill training in virtually every ESL/EFL class I have taught (of any size and level) and I recommend it highly. In addition to assisting students in becoming simply better listeners, it provides them with a (relatively) stress free and supportive setting where they can  experiment with new language and where peers can actually be of real value in helping them do that.

Two "haptic" applications:  (1) Learners are relaxed to the point in speaking that they have a much better chance of staying tuned in to the "felt sense" of their voice, and, consequently are more likely to detect (unobtrusively) haptic anchored-errors or changes, and (2) when peers observe a problem with a targeted element of pronunciation in one of the speakers, they, or the instructor can provide appropriate "haptic feedback," that is (possibly) saying the word or phrase using a haptically anchored corrected version or request that the speaker try to provide it in the debriefing session.

It can be clinical pronunciation work at its best--in part probably because attending skill training was developed in counseling psychology in the first place. It can also change the way you "attend to" integrating sound change in the classroom.