RHYTHM FIRST (new) pronunciation teaching technique: Haptic Side Step!

Full disclosure: the following post includes explicit, dance and intrapersonal touching, something of a
follow up to two recent posts:

• Why rhythm comes first in pronunciation teaching!,
• Glutin' your way to better pronunciation

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What is new here is the active, simultaneous use of feet, literally and figuratively. The idea is that much of the basics of English pronunciation and practice can (and should) be taught to the beat of the rhythmic feet of the text being spoken. The tempo will vary but the “dance step” is essentially the same.

• All text used at the beginning should be staged/indicated on paper or expressed or broken up into rhythmic feet (groups of 1~9 syllables in this system, although in the classical sense, a "foot" is usually limited to 3 or 4 syllables). For example: 
• The stressed syllable / in the word or phrase / should, in general, / be highlighted / (underlined or boldfaced / for example.) 
• The body is moving gently from side to side, to the rhythm of the designated rhythmic feet, using what we call a "haptic side step, where the forefoot comes down on the stressed element. 
• See short video of me "DEMONSPLAINING" how the basic procedure works in a clip from a recent presentation at UBC. (It is especially clear in the second part of the 15 minute video.) Password: HaPT-Demo3
• As noted in the video, in haptic pronunciation work the upper body may also be simultaneously executing various touch-based pedagogical (gesture) movement patterns related to a targeted pronunciation feature, such as a vowel sound or key word, a rhythm or intonation pattern, etc.  

The "side step" has been developed over the last five years as an optional feature of more advanced, accent modification work.The rest of the full, full-body version of the haptic system, Haptic Pronunciation Teaching, v5.0: RHYTHM FIRST! will be rolled out later this fall.

In the meantime, try some form of that basic technique in class with any simple dialogue, or word list, or dialogue or even spontaneous chat (as I do on the video) and, as usual, report back!

The technique will be featured at the next webinar, March 27th and 28th. (Contact: info@actonhaptic.com for further information.)

Caveat emptor: This looks easy.

Glutin' your way to better pronunciation!

This is the second of a series of posts introducing and exploring aspects of the new (RHYTHM-FIRST) v 5.0 haptic approach to pronunciation teaching. Most of the new system can be used with or without gesture and touch, in part because it begins with the feet! The technique described here is not part of the current system, but it may well be later, particularly in teacher training. It is certainly  . . . different. I "discovered" it very much by accident . . . literally!

Had to go to physio because of an overuse injury to my right glute caused by trying to run faster than my legs would allow in a 10k. One of the prescribed exercises was to stand up and alternatively tighten and relax each glute, while stepping to either side, about 18 inches. While doing it one afternoon I just happened to sync or dance along with a song on the iPhone, sort of glutin'

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on the stressed words.

A few days later, working with an advanced ESL student with serious problems related to rhythm and stress placement in English, I had her try glutin' along with first a word list and then on the stressed words in a scripted dialogue, and then just before we finished, had her do some of the same as she was spontaneously describing to me an event that had occured the previous day.

The immediate impact on her speaking style was dramatic; the change over the next two weeks, at least in retelling stories and simple, informal conversation, was equally remarkable, transformational. Have since tried out glutin' with half a dozen other students with pretty consistent results. Have not worked on how to teach it to a full class of students, but I'm working on it.

The technique actually mirrors several other procedures we use that induce the body, especially the upper torso to sync to phrasal and clausal rhythm. I'd do a video of this, but there would, of course, be nothing to "see" without the right/tight, revealing camera angle on a well-gluted speaker wearing potentially distracting fashion tights . . .

In the interim, just for fun, try it out, yourself, then with some students and report back.

New Syllablettes Chorus Line at BC TEAL Conference!

This Friday (April 12th) at 3:30 at the  BCTEAL conference  at Langara College, BC, we'll roll out the 2019 version of the Syllablettes. The Syllablettes Chorus Line Technique was introduced in 1996 at the TESOL Convention in Chicago. In many teacher training programs world wide it is still a staple, a fun and effective way of introducing the importance of the syllable in English pronunciation teaching.

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In essence, each student takes on the role of a syllable, performing "it" with full-body as the word, phrase or sentence is articulated by the rest of the "syllables."  The individual can be tasked with any of several features of a syllable in English:

• Pitch (5 levels)
• Pitch movement
• Volume (5 levels)
• Length (3)
• Linking to adjacent syllables
• Embodying consonants or glides on either side of the vowel core
• "Falling" out, as in vowel ellipsis
• Creating space between syllables

There is much new in this 2019 version, including attention to both suprasegmentals and internal make up of the syllable. You don't need to use ALL those features, of course, but it works for any set of learners, from beginners to phonetics classes.

The session will be recorded and available here on the blog shortly. If you are coming to the conference and are OK with being seen on video worldwide acting really "silly-able", please let me know!

And remember to sign up for the next Haptic webinar on May 17th and 18th (info@actonhaptic.com).

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 . . .

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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!

Touching pronunciation teaching: a haptic Pas de trois

Wikipedia.org

For you ballet buffs this should "touch home" . . . The traditional "Pas de trois" in ballet typically involves 3 dancers who move through 5 phases: Introduction, 3 variations, each done by at least one dancer, and then a coda of some kind with all dancing.

A recent article by Lamothe in the UK Guardian, Let's touch: why physical connection between human beings matters, reminded us of some the earliest work we did in haptic pronunciation teaching that involved students working together in pairs, "conducted" by the instructor, in effect "touching" each other on focus words or stressed syllables in various ways, on various body parts.

In today's highly "touch sensitive" milieu, any kind of interpersonal touching is potentially problematic, especially "cross-gender" or "cross-power plane", but there still is an important place for it, as Lamothe argues persuasively. Maybe even in pronunciation teaching!

Here is one example from haptic pronunciation teaching. Everything in the method can be done using intra-personal and interpersonal touch, but this one is relatively easy to "see" without a video to demonstrate the interpersonal version of it:

• Students stand face to face about a foot apart. Instructor demonstrates a word or phrase, tapping her right shoulder (with left hand) on stressed syllables and left elbow (with right hand) on unstressed syllables--the "Butterfly technique". 

As teacher and students then repeat the word or phrase together,

• One student will lightly tap the other on the outside of the her right shoulder on stressed syllables (using her left hand).

• The other student will lightly tap the outside of the other student's left elbow on unstressed syllables (using her right hand). 

Note: Depending on the socio-cultural context, and depending on what the general attire of the class is, having all students use some kind of hand "disinfectant" may be in order! Likewise, pairing of students obviously requires knowing well both them individually and the interpersonal dynamics of the class. Consider competition among pairs or teams using the same technique. 

If you do have the class and context for it, try a bit of it, for instance on a few short idioms. It takes a little getting used to, but the impact of touch in this relatively simple exercise format--and the close paralinguistic "communication"-- can be very dramatic and . . . touching.

Keep in touch!

"De feet" - a new, winning (haptic) strategy for teaching English rhythm

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Alert: This post is best read while standing barefoot with some of your favorite dance music in the background or while walking or jogging to it. New research by Greene and colleagues at New Mexico Highlands University summarized by Science Daily, demonstrates just how you can ensure that your brain is really "pumped" about what follows.

Next Friday morning (at 8:30 A.M. no less!) at the annual BCTEAL (British Columbia) conference in Vancouver, we'll be rolling out the new v5.0 version of the "Rhythmic Feet Fight Club". If you are new to haptic pronunciation teaching here is the 2009 version and here is the 2013 version.

If you are new to what the rhythmic feet of English are about, here is a (somewhat technical) but nice set of slides by Goldstein at USC or this straightforward one from a "handbook" at Emory University. "Feet" are,  in essence, groups of syllables that determine the flow of English speech, each grouping having one (stronger) stressed syllable that creates foregrounding or focus in that grouping.

There are hundreds of techniques on the web that use something like dance, where one foot or the other lands on stressed syllables of words or phrases; some, such as Jazz Chants, that have learners clapping hands while they do. v5.0 is a bit like that. Haptically, along with the feet touching the floor, the hands either squeeze something or rhythmically (in boxing gloves) hammer at the boxing gloves of another learner, as in the (relatively "foot-loose") 2009 version above.

What is "new" in v5.0 is the explicit (fun) inclusion of light, enthusiastic foot stomping--while doing something like shadow boxing--on stressed syllables of rhythmic feet. (We'll post a video of that session next week.) I realize that sounds a bit too "full body" and cognitively complicated for 8:30 a.m., but it is actually quite easy to master, as long as you carefully ramp up with each of the "body parts" involved as you do.

Before I take off the gloves, in fact, I'm going to have a serious, f2f "conversation" with the conference scheduler who put us (Shine Hong and myself) in that pre-conscious-pre-coffee early presentation slot. (It should be a "knock out" of a session, nonetheless!)

Join us.

Key citation:
Experimental Biology 2017. (2017, April 24). How walking benefits the brain: Researchers show that foot's impact helps control, increase the amount of blood sent to the brain. ScienceDaily. Retrieved April 26, 2017 from www.sciencedaily.com/releases/2017/04/170424141340.htm

Keeping the pain in pronunciation teaching (but working it out with synchronized movement and dance)

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Three of the staples of pronunciation work, choral repetition, drill and reading have been making something of a comeback--but just waiting for studies like this one to surface. (Or, confirm what any experienced practitioner could tell you without doing a controlled study in the lab.) In essence, the key idea is: choral, doing it together, in sync.

 A 2015 study, Synchrony and exertion during dance independently raise pain threshold and encourage social bonding by Tarr,  Launay, Cohen and Dunbar found " . . . significant independent positive effects on pain threshold (a proxy for endorphin activation) and in-group bonding. This suggests that dance which involves both exertive and synchronized movement may be an effective group bonding activity." (Full disclosure here.) The dance treatment used was a type of synchoronized dancing at 130 beats per minute, which does sound relatively "exertive"--perhaps not a perfect parallel to use of synchronized gesture and body movement in language teaching. It is, I think, still close enough, especially when you review the extensive literature review presented in the article. (And besides, the subjects in the study were high school students who obviously have energy to "burn!")

One of the fascinating "paradoxes" of pronunciation instruction is the way use of gesture and movement can be both energizing and distracting. Appropriate choral speaking activities using synchronized gesture or body movement may work to exploit the benefits of prescribed movement, without the downsides, the "pain", including just the personal or cultural preferences related to the appropriateness of  moving one's body in public. (See several earlier posts on that topic.)

One of the major shifts in pronunciation teaching--and probably one reason for the concurrent lack of both interest in and effectiveness of current methodology, has been the move to "personalized" pronunciation with computers and hand held devices, as putative substitutes for "synchronized" learning in a class . . . of people, with bodies to move with. In essence, we have in many respects, disembodied pronunciation teaching, disconnecting it from both social experience and integrated (including the often relatively hard "exertion" of) learning.

In v4.0 of the EHIEP system, most of the basic training is done using designed pedagogical movement patterns, along with simple, line dancing-like dance steps. (There is also the option of doing the practice patterns without accompaniment, not to a fixed rhythm, although the work is still done with complete synchrony between instructor and student.) In most cases the "step pattern" is just a basic side to side movement with periodic shifts in orientation and direction, done in the 48 to 60 beats per minute range. (A demonstration video will be available later this month and the entire system, early next spring.)

One of our most successful workshops along these lines was titled: So you think you can dance your way to better pronunciation! Turns out, you can, even if that only means that all the bodies in the class are synchronized "naturally" as they mirror each others' movement as the result of their mirror neurons locking into highly engaged f2f communication in general.

Turns out the "pain" is essential to the process, both the physical and social "discomfort" since response to it and exploiting it also enables powerful, multi-sensory learning. Or as Garth Brooks put it: "I could have missed the pain, but I'd had to miss the dance."

Full citation:
Tarr, B., Launay, J., Cohen, E., Dunbar, R. (2015) Synchrony and exertion during dance independently raise pain threshold and encourage social bonding The Royal Society Biology Letter 28: October, 2015.DOI: 10.1098/rsbl.2015.0767

Dance your way to better classroom management (and pronunciation teaching)?

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Here is a moving study--especially if you are a dancer or dance fan (of which I count myself a member) --summarized by ScienceDaily, conducted by Hujala, Laulainen and Kokkonen of the University of Eastern Finland: "Manager's dance: reflecting management interaction through creative movement," published in the International Journal of Work Organisation and Emotion. 

The researchers' methodology and conclusion, excerpted from the abstract on Inderscience.com: (To buy this piece would cost $41 CAD, or about 8 Vente Carmel Frappuccinos, so we'll just have to go with what we have here!)

"Four managers and three researchers participated in two creative dance sessions with a dance pedagogue. The sessions were videotaped, and the visual material and reflections of participants were used in the interpretation. The use of creative movement 'revealed' unconscious dimensions of behaviour and the relevance of feelings in management interaction. In addition, the therapeutic outcomes appeared to be an essential part of the study for the participants."

Here is what ScienceDaily pulled from the study (boldface, mine):

"They suggest that creative movement harnessing the whole body may give rise to new knowledge about management interactions. Most intriguingly, they suggest that a person's dance moves might reveal unconscious and unnoticed thoughts about their life and their position in the workplace and so highlight the aesthetic and embodied dimensions of management."

We often characterize what we do in haptic pronunciation teaching as a kind of dance, where instructor and learner move together as they work on new or "correctable" sounds, as if in synchronized dance across the room from each other. We have not, however, formally looked at the class management side of what is going on, that is exerting control over the "whole bodies" of learners as we do that.

The methodology seems pretty straightforward (from what we can get from the abstract). Might be a bit uncomfortable for some, to sit and watch videos of themselves teaching, talking about their feelings during synchronized "haptic dance" and how they managed it, but to paraphrase Garth Brooks, to avoid the "pain" might be to miss the "dance!"

Keep in touch.

Full citation:

Inderscience. (2014, March 6). Hey, boss! Lose yourself to dance, know yourself better. ScienceDaily. Retrieved March 9, 2015 from www.sciencedaily.com/releases/2014/03/140306093615.htm

Seeing before believing: key to (haptic) pronunciation teaching

We call it "haptic pronunciation teaching." That is actually shorthand for something like:
simultaneous haptic-integration of visual-auditory-kinesthetic-tactile modalities in anchoring pronunciation

Almost every functional system for teaching pronunciation includes graphics or videos of some kind, even if it just a black and while line drawing of the mouth. Some substitute extensive written or verbal explanation for visual models. Our basic approach has been to use touch to link the senses, but often without too much concern for the precise order in which learner attention is directed through the various sources of information on the sound.

A fascinating new study on sensory sequencing in dance instruction by Blitz from Bielefeld University reported in Science Daily (see complete reference below) suggests that our real time sequencing in training in the use of pedagogical movement patterns (gesture, plus touch) is probably much more critical than we have assumed. That is especially relevant to how we (hapticians) maintain attention in the process. In other words, in the classroom, in what order do we introduce and train learners to the parameters of sounds and sound processes? That is, of course, equally relevant to all teaching!

NOTE: Please accept for the moment the parallel between dance instruction and our haptic work, that is training learners to experience, through gesture/touch and placement in the visual field, L2 or L1 sounds associated with targeted words. Also, allow me to side step the question of whether dancers are, by nature probably a bit "hyper-kinesthetic!"  

The study discovered that first viewing a dance sequence without verbal explanation or instruction--and then hearing or reading instructions after that was significantly more effective than the converse in long term memory for the sequence. Both visual and "cognitive" sources were present but the order was the critical variable. The subjects were apparently free to repeat both the visual and verbal inputs a limited number of times, but not to "mix" the ordering of them.

In other words, insight into what had been experienced was far more effective than was verbal cognitive schema in setting up and productively exploiting the visual experience or model to come. For us, the pedagogical implications are relatively clear, something like: (1) Observation (video clip) then (2) brief verbal explanation, then (3) experiential training in doing the gestural pattern, then (4) practice, along with (5) focused explanation of the context of the targeted sound.

How might that perspective impact your (pronunciation) teaching?

AMPISys, Inc.

See what I mean?






Full reference: Bielefeld University. "Best sensory experience for learning a dance sequence." ScienceDaily. ScienceDaily, 7 November 2014. .

(Haptic) Marking for better pronunciation: Going through the motions

If you are a dancer, you'll get this one! Dance instruction and the dance "mind set" have long been two of my favourite analogues to pronunciation work. According to Warburton, Wilson, Lynch and Cuykendall of University of California, Santa Cruz, reported by Science Daily, the "conflict between the cognitive and physical aspects of dance practice" is central to highly artistic performance. A new study suggests an intriguing remedy: dance marking (where the routine was done in slow or slower motion) " . . . essentially . . . a run-through of the dance routine, but with a focus on the routine itself, rather than making the perfect movements." (emphasis, mine.) 

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Furthermore, according to the researchers, "Smaller scale movement systems with low energetic costs such as speech, sign language, and gestures may likewise accrue cognitive benefits, as might be the case in learning new multisyllabic vocabulary or working on one's accent in a foreign language."

Previous posts have reported similar "marking" systems by "power learning" practitioners,  athletes, actors and weightlifters. In haptic pronunciation work, "marking" is done by using movement and touch to in some sense rehearse and anchor any aspect of the pronunciation. To get an idea of how this works, get a copy of the Guide to AH-EPS, which is part of the Instructor's Package. (See the GETONIC tag at the top of the right hand column.) Another way to get one is to join IAHICPR for a year and I'll send you a PDF copy, free!

The "music" of pronunciation teaching: Just "duet!"

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Clip art: Clker

It would be difficult to find anyone who does not support the use of music in language teaching, for any number of reasons. For the most part the rationales are common sense and intuitive--and backed by generations of validating classroom and extra-classroom experience. But here is a study by Lindenberger and colleagues at the Max Planck Institute (reported by Science Daily) that goes the other direction, examining the synchronous brain activity that is evident in "making music together," in this case two guitarists playing a duet, connected up to fMRI technology (including the usual bathing caps with dozens of wires attached!)

There are similar studies of "duets" of conversationalists, lovers, mothers and infants and others, which show coordination or mirroring of minds and brains. Likewise, studies of empathy show analogous "sync-ing" in between participants. (In EHIEP work, there is extensive mirroring, complementary background music and use of music in supporting rhythmic practice.) Can you imagine a more effective occasion for anchoring of new or changed pronunciation than when instructor and learner are locked in (neurophysiologically and pedagogically appropriate) synchronized dance from across the room--making music together? That is music to more than the ears--and not a bad place to begin in understanding when instruction enables uptake and when it doesn't. Take note . . . and your mp3 player. 

Haptic-integrated pronunciation . . . and "Ro-butts?"

Clipart: Clker

Clipart: Clker

(Caveat Emptor: There is probably a serious point in the following but it may not be all that obvious!)  The character in the  EHIEP logo off to the right, what we affectionately refer to as "EHIEP-bot," embodies a few key features of the system, including controlled, precise movements, the sounds of language in the visual field--and attitude! But up until now there was no plausible analogy or connection between the robot personna and the efficacy of touch in learning. Now there may be. Japanese inventor, Takahashi, has figured out how (or at least where) to do haptic anchoring with robots: on the gluteus maximus! I suppose, were it not for certain cultural constraints--or lack of them for example, here in a Youtube of a German folk dance move -- that might work on us non-robots in doing pronunciation, particularly rhythm, as well. Instead of using the visual field, looking forward, we might focus on pronunciation in retrospect! Actually, doing two of the more rhythm-oriented protocols when seated, the critical butts-in-chairs variable in group dynamics and sales-- does seem to help anchor or "nail down" the pattern being attended to, especially with the right Latin beat in the background. Wow. A whole new area of research and exploration here? This is supposed to be a "whole brain and whole body approach," after all! Ah . . . perhaps we'd better sit on that for the time being!

Evaluating "the dance" in HICP teaching: Part two

In an earlier post, I have linked to a rubric that we use in evaluating the accuracy of a teacher-in-training's haptic pedagogical movement work. The previous post discussed the process of assessing oral performance of students in the classroom "paralinguistically," by observing their bodies moving in synchrony with their speech. The criteria used by the dance program at the University of Oakland to determine student general competence gives us a very nice picture of how to conceptualize movement in our instruction:

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A. The dancer demonstrates a clear sense of alignment, center control, flexibility and strength. He/she has a strong sense of musicality and the ability to assimilate corrections. (I have never seen a better description of what we see in the successful learner who is disciplined and stays with the assigned protocols.)
B. The dancer demonstrates a high level of concentration, energy and confidence when executing movement in class. (That could almost be a basic benchmark in development of the basics by the learner.)
C. The dancer demonstrates a high effort of professionalism by arriving to class on time, dressing properly, and being prepared to dance. (That one works with a little metaphorical interpretation of the first two--or as that applies to the instructor!) 

Do a little informal research. Have a colleague rank your students on A and B above and then you relate that to their general intelligibility. You may be surprised with what you find--and ready to dance!

Core pronunciation: Rhythm

This is the first of three posts on the somatic (body-based) centers of HICP work. The second will be on vowel resonance; the third, on pitch or speech melody. Each post will be accompanied by a great Youtube video that you can either dance or sing along with to develop the better awareness of relevant body movement or "good vibrations" that are part of each overall pedagogical movement pattern (PMP). There is simply no better place to begin than with Latin ballroom dancing . . . (If you have a Wii or Kinect system, you probably have a few dance routines already like this one!) The basic core muscle contraction and hip movement in the video--done a little more unobtrusively, of course--is a good introduction to the felt sense of English rhythm. Most of the protocols in the training phase of EHIEP instruction include some degree of conscious attention to core and hip motion. (This exercise is for instructor training only--unless, of course, you are teaching in Brazil or thereabouts!) A couple of times through the 7-minute video and you got it. A month or so of regular practice and you are beach-enabled!

The "hips" in HICP

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For most of the EHIEP protocols or techniques, the upper body movements, when done accurately with muscles warmed up and flexible, naturally draw the lower body, especially the hips,  in as well. When we say full body and brain engagement--we mean it! Ideally the movement of the hips should be in the form of a very gentle "hip thrust" forward and back on focused elements in the words or phrases being practiced. To someone watching it should not be noticeable or seen as unusual. The combination of the head nodding and diaphragm pushing the air up and out of the lungs combine to create a sympathetic movement in the hips and glutes.

 This Youtube video does a great job of illustrating several versions of an exercise to strengthen and "liberate" the hips. I often use some form of hip thrust exercise to help the overly fossilized get with the program.  If you find pronunciation work something of a pain in that region, yourself--or should you have chronic lower back problems--get down and loosen up with us!

Thinking (and learning) on your feet: an in-spider's view

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I was inspired by this Science Daily summary of research by Wcislo at the Smithsonian Tropical Research Institute in Panama showing that "nymphs in the genus Mysmena" family extend their brains into their legs. As odd as that may sound at first, when you think about it, although technically our brains are in our heads--with some notable exceptions such as some movie stars and professional athletes, of course--we often think in those terms. Even our metaphors such as "think on your feet," etc., suggest that we function with many levels of consciousness.

Here is a website for a very slick consulting company, Thinkonyourfeet.com, that uses that moniker for its public speaking for professionals training program. It is worth book marking that page just for the outline of the skills involved in effective presentations!

Many cultures view "thought" as originating throughout the body. You have certainly seen the shiatsu charts of body parts maps on the feet, etc., or similar maps of related pressure vectors in various body manipulation systems. In HICP work we do teach at least one process "on our feet:" rhythm, part of the reason for that being the assumption that body rhythm is driven most effectively and dynamically by the lower body . . . just take it from Monika .  .  . 

Embodied exercise: dancing your way to better pronunciation, health, L2 identity and expressiveness!

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Clker

Several previous posts have alluded to "embodiment theory" as it is developed in different disciplines. One of the more relevant applications is in dance, especially ballet. This one, Klemola 1991, makes an interesting observation as to the functions and purposes of general physical exercise:

(a) To "win," be the best,  

(b) Maintain optimal strength and health, 

(c) Expand expressive capability, and 

(d) Explore and articulate self identity. 

Embodied (HICP/EHIEP) pronunciation work involves all four functions, even (b)--see earlier "breathing" and posture-related posts. Expressiveness (c) and identity (d) have also been addressed earlier but a brief elaboration might be helpful here. One of the most powerful effects of haptic anchoring is enhanced ability to manage range of expressiveness, particularly intonation. (In fact, for a time I was using the term "expressive pronunciation" for the entire system.) In the L2 identity literature the focus is principally on the psychological or psycho-social dimension. The HICP perspective on L2 identity adaptation is more Lessac-based, seeing no useful mind/body distinction and beginning formative work "from the body, outward."

Feeling a bit disembodied lately? Not yourself? Can't dance?  Out of shape? It may be your pronunciation teaching.

Seeing (haptic-integrated pronunciation) is (mirror neuron) believing!

This article from CriticalDance.com makes an important observation. The response of the mirror neurons of dancers is much stronger when they are watching familiar dance elements of new dances that they are familiar with, as opposed to seeing new elements in new dances. They are, in effect, able to learn the complete routines "simply" by watching, without physically being on the dance floor because their brains are mirroring and then committing to kinaesthetic memory a new arrangement of familiar elements.

That explains, in part, why learners are often able to quickly "uptake" haptic feedback or correction by instructors. Learners both see the pedagogical movement patterns and (usually) hear the "correct" form or pronunciation performed by the instructor--which they have been introduced to earlier in the course. Their mirror neurons should lock on the PMPs, which are anchored to the felt sense of the sounds.  It is a case where we learn best what we know already, what we have been touched by or touched. See what I mean?

Hand signs and symbols in HICP

I have described the pedagogical movement patterns (PMP) of the hands in HICP work in various ways: sign language-like, choral conducting, baseball hand signals, ballet-like, etc. The best analogy for me has always been classical dance of Japan and India. Having attended many dance performances in both traditions, the use of hand and arm movement still seems to me to best illustrate the ideal felt sense of PMPs in our work. The problem with bringing in those artistic "hands," has always been the lack of a description or analysis accessible to outsiders, not those of the culture.

Clip art: Clker

This link to an article by Parimal Phadke in a less-than-scholarly website (w/apologies, of course), is one of the best I have seen in conveying the meaning of the hand and foot engagement in (some) Indian classical dance. The "take away" from the piece, is that the hand and arm movements--from that cultural perspective--do not have intrinsic meaning, are not associated with baseball or iconic gestures, but, instead, serve to give "rhythmic form" to the dance so that the artistic expression can be more freely presented.

And so it is with HICP: the PMPs need to be learned at some level initially for the process to work. The PMPs of each of the six protocols take about 30 minutes to learn sufficiently so that the instructor can begin to integrate them regularly into the classroom instruction. If you do or have done or love interpretative dance or a related form, you are a step ahead. Or, might want to start here . . . HICP hand and arm movements across the visual field should not be thought of as conveying any deep "social meaning" or connection to common conversational gestures. They comprise but a form to put the dance in . . .

Preparing hands (and body) for haptic anchoring and ballet

Clip art: Clker

Here is a 1937 newspaper article describing an absolutely amazing exercise reportedly used by Russian ballerinas in developing hands that are " . . . graceful in repose, direct and free in movement . . . ", an almost ideal "felt sense" for haptic integration work.  After you have practiced it yourself daily for about a week, begin having learners do this deceptively simple routine occasionally, especially if the class is tense or not focused, before haptic anchoring (where hands touch in various ways on stressed syllables or words.) Follow the directions carefully and repeat exactly as prescribed. The efficient, systemic effect on the body is striking, the best I'm aware of . . . hands down (gracefully in repose, of course!)