Managing distraction in (haptic pronunciation) teaching: to block or to hype . . . or both!

New study by Udakis et al:  Interneuron-specific plasticity at parvalbumin and somatostatin inhibitory
synapses onto CA1 pyramidal neurons shapes hippocampal output, characterized by Science Daily as a  . . . a breakthrough in understanding how memories can be so distinct and long-lasting without getting muddled up." Normally, I wouldn't take a shot at connecting research in basic neuroscience to haptic pronunciation teaching, but this one, describing the basic mechanisms by which some memories get stored so that they are recalled vividly later, points to a couple of principles that should underlie all instruction, not just haptic pronunciation teaching. 

In essence what were identified are two key "circuits," in effect, one that basically intensified the event and another that served to block out distraction, or put another way functions to inhibit other "learning" that might cover over or undermine an experience. One interesting implication of that model is that the brain, in some sense, is "intentionally" managing distraction. Now the conditions that have to be in play for an experience to be "protected" are, of course, myriad, but the concept that highly systematic attention to distraction, not just increasing excitement or emotional engagement in a "teachable moment" is critical is worth considering. 

Clker.com

In the comment on the earlier post on distraction, the observation was made that, at least in one program, distraction was not seen as having any relevance in instruction, whatsoever. My guess is that that is the case in many systems as well. In our haptic pronunciation teaching workshops one of the questions we must explore is how teachers explicitly and intentionally deal with in class distractions, of all kinds, but especially extraneous kinetic (movement in the room), visual (elements in the visual field of learners), auditory (any noise coming in from outside or being generated in the room), olfactor (odors), airborne (pollution, etc.), temperature fluctuations and furniture comfort and distribution. 

Any one of those can seriously undermine instruction, of course. In haptic work which is based on systematic control of movement and gesture and utilization of the visual field, you can see how any distraction, in addition to just naturally "wandering students minds" can undermine the process. Consequently, we attend to ALL of them in our initial assessment of the classroom setting that learners are about to enter. 

Just the use of gesture and movement synchronized with speaking will capture the attention of learners at least temporarily mediating the surrounding potentially distractions, but the idea is that in addition to learners being "captivated" by the lesson content, activities and instructor delivery, attention to or control of select environmental features may be extraordinarily important. Assuming you can not control everything at once, I'd suggest you use our basic heuristic: adjust . . . at least just one or two intentionally . . . each class--without letting learners know what you are up to.  Then maybe do some kind of warm up, maybe not like this one of mine, but you get the idea!

Source: 

University of Bristol. (2020, September 8). Research unravels what makes memories so detailed and enduring. ScienceDaily. Retrieved November 1, 2020 from www.sciencedaily.com/releases/2020/09/200908131139.htm

Temporary Mind-FILL-ness in (pronunciation) teaching: Weil's 4-7-8 technique

A few months ago I sat through a good presentation on a technique for "fixing" the English rhythm of adult Japanese learners--in relatively big classes. At the time I was very interested in research on the role of attention in learning. Later, over coffee I asked the presenter something to the effect of "How do you know that the students were paying attention?" (I had earlier taught for over a decade in a seemingly very similar context in Japan, myself.) His response was: "Good question . . . Almost everybody was looking at me and more than half of the lips were moving at the appropriate time . . . "

How do you establish, maintain and manage attention in your teaching? (Anybody looking for a great MA or PhD topic, take note!) Based on my recent survey of the research literature, I'm preparing a conference proposal on the subject now. This is a follow up to the earlier post on how pronunciation should be taught "separately", in effect partitioned off from the lesson of the day and the distractions of the room and surroundings.

One problem with efficient attention management  is often in the transitions between activities or just the initial set up. Some tasks require learners to be very much "up"; others, decidedly "down" and relaxed. 

The popularity of Mindfulness training today speaks to the relevance of managing attention in class and the potential benefits from many perspectives. Most of the basic techniques of Haptic Pronunciation Teaching are designed to require or at least strongly encourage at least momentary whole body engagement in learning and correcting articulation of sound in various ways. I have experimented with a number of Mindfulness-based techniques to, in effect, short-circuit mental multitasking and get learners (sort of) calmed down and ready to go . . .

Powerful, effective stuff, but it is not something that most teachers can just pick up and begin using in their classes without at least a few hours of training, themselves, especially in how to "talk" it through with students and monitor "compliance" (manage attention.) I'd recommend it, nonetheless.

I recently "rediscovered" an amazing focus technique, suggested by Dr Andrew Weil (Hat tip, this month's issue of Men's Health magazine!), that works to create very effective boundaries without requiring any special training to administer. One of the best I have ever used. Simple. "Mechanical" (not overly cognitive or "hypnosis"-like) and quick. Takes maximum of 90 seconds. Anybody can do it, even without having seen it done:

A. Breath in with mouth closed, a slow count of 4
B. Hold the breath for a slow count of 7
C. Blow out through the mouth softly for a slow count of 8

*Do that four times. It basically lowers the heart rate and helps one focus. May take a two or three times for 4-7-8 to get to full effectiveness, but it does quickly, almost without fail. You can use 4-7-8 two or three times per class period. If you don't have a warm up that gets everybody on board consistently, try this one. I'd especially recommend it before and after pronunciation mini-lessons.

Pronunciation, and especially haptic techniques, are very sensitive to distraction, especially excessive conscious analysis and commentary. 4-7-8 is not necessarily the answer, but it will at least temporarily get everybody's attention. After that . . . you're on!

Intrusive and proactive pronunciation instruction (IPPI!)

Clip art: Clker

Love that acronym! Over the life of the blog there have been several posts that relate to exercise persistence. What comes out of that research, from several disciplines, is the idea that advising and helping students managing their time is a very good idea. In this Science Digest summary of MA thesis research by Kansas State student, Tennant, the effect of intrusive and proactive advising and engagement with freshman college students is striking. (US universities are rediscovering the importance of student retention in these difficult economic times, apparently.)  Although Tennant's work focuses primarily on at-risk students, the implications for our work are clear: resources and energy spent on assisting students in mangage life and study outside of class pay off.

What do you know about how your students study and practice of pronunciation on their own? (For that matter, what do you know about their life outside of class?) The ambivalence that we all deal with between learner autonomy and empowerment on one hand-and motivating (or cajoling) them to do their homework that you have assigned for their own good on the other . . . reflects where the field is today. The position that there could possibly be one basic pronunciation program that "fits all"--and that it could be integrated into general speaking and listening instruction--seems very much a throw back to earlier structuralist language teaching.

We have learned a great deal since the 50s about method design and what constitutes the range of strategies and technologies that can be applied to the process. The AH-EPS approach is to (A) use the basic phonological structures of the language as a standard point of departure for enhancing and integrating learners' ability to learn new sounds and vocabulary, and (B) to carefully prescribe a framework for what should go on between formal classes (or working with a haptic video independently.) That framework involves both fixed warm ups and pedagogical-movement routines associated with L2 sound features, and, most importantly, staged extension to learners' individual needs and current program of study.

In a classroom setting that means training both instructors and learners to use a set of techniques for presenting, correcting, remembering and recalling what should be integrated into spontaneous speaking, listening, reading and writing. IPPI! (or perhaps, H-IPPI!)  

FRIENDS of pronunciation teaching

Attending a MA thesis defence that involves examination of the well-known, but highly controversial,  FRIENDS anxiety management program for kids. The acronym FRIENDS stands for: "FEELINGS,  REMEMBER to relax, I CAN do it! (I can try my best!),  EXPLORE solutions and coping step plans, NOW reward yourself! (You've done your best!),  DON'T forget to practice! and SMILE! Stay calm for life." One of the basic mantras is: Your body is  your friend!

That is a nice, memorable mnemonic. The question, of course, from our perspective is, in essence, what specific haptic-based techniques are associated with each step in the process and how are they related and scaffolded. It is actually an interesting glimpse at the relationship between basic  learner meta-cognitive frameworks so widely promoted today (by cognitive phonologists, for example)  and potential method protocols, which can vary almost infinitely.  Try connecting up your current teaching framework to  FRIENDS. Anxiety-provoking? If so, try something more HICP-FRIENDLY . . . 

Pronunciation modalities: out of sight--but IN mind!.

clip art: Clker

In this 2009 study of modality dominance, by Hecht and Reiner, when visual is paired one-on-one with either haptic or auditory competing stimuli, visual consistently overpowers either of the two. When the three are presented simultaneously, however, the dominance of visual disappears. That may explain why having some learners focus on a visual schema (such as the orthography) while articulating or practicing a new sound may not turn out to be very efficient--or doing a kinesthetic "dance" of some kind to practice a rhythm pattern (without speaking at the same time) while looking at something in the visual field, may not work all that well either for some learners.

The presence of eye engagement may override or nullify information in the competing modality. In HICP, where all three modalities are usually engaged, the "distracting" influence of sight is at least lessened. In fact, the tri-modality "hexus" should only better  facilitate the integration of the graphic word, the felt (haptic) sense of producing it and the internal (auditory) bone- resonance and vibrations. Although a substantial amount of pronunciation learning may be better accomplished with eyes closed, tri-modal (haptic, visual and auditory) techniques probably come in a close second. We will "see" in forthcoming research!