EAPIC Lesson 2 - Fluency (and rise-fall and fall-rise hacks)

Important note:  As of tonight, March 4th, only 2 people had completed viewing of the L2 training video, and none had enrolled in the course officially yet, so there was no feedback session this evening. I will wait a week before uploading the L3 training video, to give time for others to get "caught up!" If you have viewed the L2 training video, feel free to email me with your questions or post a comment on the blog below. 

                   

                               Lesson 2 - Tai Chi  (Fluency 1)

                                                                    

 

Link to the L2 training video         (Google meet)

Link to L2 training video  (Youtube) 

Links to  the L2 feedback session 

Link to L1 training video                 

 Link to Introduction video

Objectives:

• Basic rhythm and fluency

• Haptic conversation hacks: 

                    Tai Chi Fluency, RISE-FALL ( / \ ) 

                    FALL-RISE ( \ /) tones 

           Warm up! (vowel lip shape up!)

Circles        (3 sided) boxes

 u                        i          
 U                        I          
 O                       e             
 Ɔ                       ɛ
 ʌ                     ae
       a         a    

a > i     a > u   Ɔ > i

i > i     e > i    u > u    o > u 

READ

Tai Chi Finger flow fluency: both hands move in clockwise circles.

•     Finger tips touch very lightly on the most stressed syllable in the rhythm group.

•     Arms, hands and fingers—and whole body as relaxed as possible.

RISE-FALL and FALL-RISE tone hacks, using bigger circles and energy

Tai Chi (Finger-flow fluency)Training

• Fingers touch on the stressed syllable: X
• Hands move in (soft ball size) clockwise circles!

Nice X
That’s nice. oX
Very nice.  ooX
That’s very nice.  oooX
Easy Xo
That’s easy. oXo
Very easy. ooXo
That’s ve-ry easy. oooXo
Beau-ti-ful Xoo
That’s beautiful. oXoo
Very beautiful. ooXoo
That’s very beautiful. oooXoo
Fascinating Xooo
That’s fascinating oXooo
Very fascinating ooXooo
That’s very fascinating oooXooo

RISE-FALL and FALL-RISE Hacks

• RISE-FALL: Soccer ball size circles with both hands! 
• Meaning: Enthusiasm or excitement, with more voice energy
• 
  
• FALL-RISE:  Right hand continues upward a little. Left hand continues down.
• Meaning: You are bit curious or surprised about something, 
• or you are a Canadian* who sometimes uses a FALL-RISE + "eh" at the end of a sentence.  

Nice X          / \        \ /
That’s nice. oX / \        \ /
Very nice.  ooX / \        \ /
That’s very nice.  oooX / \       \ /
Easy Xo / \       \ /
That’s easy. oXo / \       \ /
Very easy. ooXo / \       \ /
That’s ve-ry easy. oooXo  / \       \ /
Beau-ti-ful Xoo / \       \ /
That’s beautiful. oXoo / \       \ /
Very beautiful. ooXoo  / \       \ /
That’s very beautiful. oooXoo  / \       \ /

Fascinating Xooo / \       \ /
That’s fascinating oXooo / \       \ /
Very fascinating. ooXooo / \       \ /
That’s very fascinating.       oooXooo / \       \ /

*We lived in Canada | for twenty years | and love a Canadian accent! 

 

Lesson 2 EOR - Ducks on a plane! 

(Tai Chi, plus RISE-FALL and FALL-RISE hacks)

MOOD: VERY enthusiastic! (On a very noisy subway where you have to speak loudly!) 

1A: ExCUse me. Could you put my DUCK | in the Overhead?

            X / \                                             X / \                 X \ / or /

   B: SURE. GLAD to. THERE you are!

         X / \      X / \           X / \ 

2A: Thank you so MUCH!

                                X / \

   B: You're WELcome. Where're you FROM, EH?

                    X / \                                        X / \    \ /

3A: JapAN| but I’m a STUdent here now. 

             X / \                 X / \

    B: JaPAN?  WHERE in Japan?

              X \ /       X / \

4A: SENdai.  About two HOUrs | north of Tokyo by TRAIN. 

        X / \                         X / \ or /                                   X / \

   B: That's a REally nice area. 

                        X / \

5A: It certainly IS. But it’s beCOming | very CROWded. 

                        X \ /                  X / \                    X \ / or / \

B: I've HEARD that. How LONG | are you staying in CAnada?

              X / \                         X / \                                       X \ / or / \

6A: PERmanently! I'm going to be WORking | in ToRONto. 

       X/ \                                                X / \                     X / \ 

   B: WELL. Welcome to CAnada, EH!

         X / \                           X / \         X \ /

Rhythm First: Haptic Side-Step!  (plus Tai Chi)

(For activation of the body, going from left to right, like reading a book!
Each time you do it you will add a gesture!)

A-B-C-D-E-F!

Homework;

a. (Every day): Warm up (L1 and L2), training (3 days), EOR, new text (day 5). Notes (new targets and observations) and log of time spent and when!

b. (optional) If you want to enroll for Wednesday feedback, email me for a quick interview on Zoom. 

c. Check out Legalshield and IDshield on my website: williamacton.legalshieldassociate.com (If you sign up for Legalshield or IDshield, you get 3 more personal lessons, too!) 

Keep in touch! 

Bill

wracton@gmail.com
https://hipoeces.blogspot.com/
www.actonhaptic.com
www.williamacton.legalshieldassociate. com

EAPIC Lesson 1: Rhythm and FALL/RISE Sign-offs

 English Accent and Pronunciation Improvement Course (EAPIC)

Haptic - using gesture and touch

KINETIK – using the whole body to learn

Link to the Introduction video!

***

Link to Lesson 1 Training video

Lesson 1 – Rhythm and FALL/RISE Sign-offs

• MT5 (movement, tone, touch and tempo) Technique
• MT5 video uploaded every Week on Youtube.
• (Optional) Zoom class meeting on Wednesday at 8 EST.

Homework: 

Do at least the 20-minute practice every morning for 5 days. 

Warm up (3x each)

1. Neck stretch (left side, right side, back, front)

2. Upper chest and shoulders (elbows touch) 

3. Nasal resonance (Ying! Yang! Young!) 

4. Back (‘Oh’ cone) and chest (Ooo-Wah!) 

Syllable Butterfly Training

Strong tap on the stressed syllable on right shoulder: X

Light tap on unstressed syllables on left forearm: o

 

Cool. X

That’s cool. oX

Really cool. ooX

That’s really cool. oooX

Awesome Xo

That’s awesome. oXo

Really awesome. ooXo

That’s really awesome. oooXo

Super cool. Xoo

That’s super cool. oXoo

Really super cool. ooXoo

That’s really super cool. oooXoo

Super awesome. Xooo

That’s super awesome. oXooo

Really super awesome. ooXooo

That’s really super awesome oooXooo

FALL/RISE Sign-offs: 

FALLing tone (  \ ) Usually at the end of a statement or certainty. Nice to meet you. \

RISEing tone ( / ) Usually at the end of a question or uncertainty. Are you coming? /

 

Lesson I – Embodied Oral Reading (EOR)

(Syllable Butterfly + FALL/Rise Sign-offs)

1A:  I THINK | we've GOT it | figured OUT.    

           •X                     •X•                    • •X    \

   B: Oh. Can you TELL me | what it IS? 

         X       •   •        X   •              • •X   /

2A: Your MUFfler | I THINK | has a small HOLE in it.    

           •    X•                 •X              • • •      X      • •    \

   B: Oh NO!  Does it NEED | to be rePLACED right now?   

          • X             • •     X            • •      • X                 •    •   /

3A: Yes, it DOES. It ISN’T going to | last much LONger     

        X      •  X         •   X •      •   •            • •           X•.  \

   B: Huh. How MUCH | will it COST?         

          X            • X            •  •       X   \

4A: A-BOUT | a hundred | and fifty DOLlars.        

          •X           •     X•          •     • •       X•    \

   B: Really. That's too BAD. Is there a less exPENsive way?       

          X•               ••     X                   • • • • •.  X    •        •   /

5A: You could MAYbe | rePAIR it, yourSELF.

             •   •     X•               •X     •         • X    \

   B: How LONG | exACTly | will that LAST?

             •  X                 •X•                • •     X   \

6A: If it works at ALL . . . MAYbe | for a couple of MONTHS?

               • • •   •   X             X•            • •     • •       •   X    /

   B: I'll DO that. SEE you | in a MONTH or two!

          •  X   •        X   •            • •     X         • •    \

Homework: 

1. Take notes!!!

2. Practice every day, in the morning, standing, with good gesture, using pleasing (beautiful) voice and volume. (Warm up, training and EOR)

    Friday: Do the training! Take notes!

    Saturday: Do warm up training and EOR) Take notes!

    Sunday: Take the day off! Take notes!

    Monday: Do warm up, traing and EOR. In your notes write down words or phrases you may have difficulty pronouncing well enough!

    Tuesday: Do warm up, EOR and find a dialogue or story about as long as an EOR and practice using the Butterfly MT5 with it. Take notes, lots of them!!!

    Wednesday: Do warm up, EOR, your text, take notes and come to the Feedback session (this one is frree!) 

    Thursday: Do new training video. 

3.  Check out: https://elsaspeak.com/en/ (vowels and consonants)

4.  Check out:https://speechling.com/ (general speech fluency)

5. Check out: www.williamacton.legalshieldassociate.com (for the optional identity protection app that I'll introduce during Week 3.)

Email me: wracton@gmail.com with questions or to enroll for EAPIC course feedback sessions: ($250 USD)

Spring 2026 English Accent and Pronunciation Improvement Course (EAPIC)

Beginning two weeks from today! 

Spring 2026 English Accent and Pronunciation Improvement Course (EAPIC)

(EAPIC: pronounced "EPIC!") 

Beginning February 5, 2026 

• Better accent or pronunciation
• Better expressiveness in speaking
• More confidence in speaking
• Good method for continuing to improve
• Works for anybody with a CLB or IELTS 5 and up

• 10 weeks, online (plus Introduction video on 2/5/2026)
• (Free) 20~30-minute training video uploaded to YouTube every Thursday
• 15~30 minutes of homework every day!
• (Optional) live homework follow up meeting on Zoom Wednesday at 8-9 p.m. EST. 

•      15-minute Zoom interview required to enroll
•     $250 USD additional fee. 

Weekly syllabus:

1. Basic rhythm 1 (pronunciation grammar) 
2. Fluency 1 (body rhythm)
3. Consonants 1 (common problems, such as 'th' and 'r/l')
4. Vowels 1 (short)
5. Vowels 2 (long)
6. Consonants 2 (students’ “favorite” problems)
7. Melody 1 (little pieces, phrases)
8. Melody 2 (longer pieces, sentences)
9. Fluency 2 (Public speaking and classroom stye)

10. Rhythm 2 (Conversation style)

Typical weekly schedule: 

   Thursday: Do the video along with me (20+ minutes) and keep notes!
   Friday: Do the warm up, training, embodied oral reading (EOR) and keep notes!
   Saturday: Do the warm up, training, EOR and keep notes!
              Notes: Other words or phrases you have difficulty pronouncing well
    Sunday: Take the day off with me!
   Monday: Do the warm up, EOR, practice your target words (with MT5s) and keep notes!
   Tuesday: Do the warm up, EOR,  a new one-page story you have found with MT5s, practice your target words and keep notes!
   Wednesday: Come to the live feedback 60-minute class on Zoom (or practice by yourself!) 

       Here is what goes on in the feedback session: 

                       a. Go over the EOR
                       b. Check students' individual MT5s for accuracy
                       c. Questions from and help with target words of students
                       d. Preview of the next week's lesson

So . . . How does this course work? 

• Gesture and touch make pronunciation easier to learn and remember
• Using your whole body (embodied) makes is easier to pay full attention
• Rhythm and gesture together help keep learning both relaxed and energetic
• Embodied oral reading is great for bringing what you study into conversation
• Practicing the EOR every day trains your mind and body to move and speak more like English speakers do. 
• Use what you know . . . 

Email me: wracton@gmail.com for more information or to enroll (via Paypal or Venmo). To enroll requires brief Zoom chat (just to make sure the course is for you!) 

For a more in depth discussion of the basis of the EAPIC course, go to: https://www.actonhaptic.com/eapic

The Summer 2026 EAPIC course is being revised to include identity protection. Students will also be using IDentityshield system. For a preview of IDentityshield go to: IDentityshield introduction, or  www.williamacton.legalshieldassociate.com 

Homework for next week 

A. Tell me a little about yourself and why you think this course would be helpful for you.

B. Give me some idea of your weekly schedule, how much time you have to practice!

C. Tell me about your experience with music, playing an instrument, etc., or just enjoying it!

D. Tell me if you'd like to join the Wednesday Zoom feedback class. (If so, I'll set up a Zoom interview just with you as soon as possible. If I do, what would be a good time for you?)

(Haptic) English Accent and Pronunciation Improvement Course!

For a good time, start at the bottom of page! The blog page has the materials used in the video!

Enjoy!

Bill

 Link to Lesson 10 training video (Tour of the key techniques of the course!) 

Link to Lesson 10 blog page

  Link to Lesson 9 ttaining video

Link to Lesson 9 blog page

Link to EAPIC 8 Training Video 

Link to EAPIC 8 blog page

Link to Lesson 7 Training Video

Link to Lesson 7 Blog page

 Link to Lesson 6 Training video

Link to Lesson 6 Blog page

Link to Lesson 5 Training Video 

Link to Lesson 5 Blog Page

 Link to L4 Trainng video 

Link to L4 blog page

Link to L3 training video 

Link to L3 Blog page.

Link to L2 training video 

Link to L2 blog page with the materials

Link to Lesson 1 

Link to L1 Blog page

Link to the Introduction video 

Links to EAPIC Lesson 8 - Fighting (and boxing) your way to confident pronunciation

Start with the training video and be sure to download the blog page that has the material in the video. 

Link to EAPIC 8 Training Video 

Link to EAPIC 8 blog page

Link to Lesson Wednesday 8 p.m. EST Feedback Session

(Password required; send me an email and, for a small fee,  I'll send you the password for this week.) 

Link to Lesson 7 Training Video

Link to Lesson 7 Blog page

 Link to Lesson 6 Training video

Link to Lesson 6 Blog page

Link to Lesson 5 Training Video (YouTube)

Link to Lesson 5 Blog Page

 Link to L4 Trainng video (Youtube)

Link to L4 blog page

Link to L3 training video (Youtube)

Link to L3 Blog page.

Link to L2 training video (Youtube)

Link to L2 blog page with the materials

Link to Lesson 1 (Youtube) 

Link to L1 Blog page

Link to the Introduction video (Youtube)

AI, AI, AI, AI! (AI takes over creating personalized, haptic pronunciation teaching homework!)

 A core component of the English Accent and Pronunciation Improvement Course is the weekly embodied oral reading. Each week students are trained in a "Movement, tone, tempo and. touch technique" (MT4) that is then practiced in the oral reading in various ways. Part of the process is the student applying the MT4 to a ~300 word text. The personalized text will be generated by AI (I use Perplexity currently, but any Chat-GPT arrived at a similar "solution.") Here is a simple example. (The basic prompt, fill-in-the-blank format is provided for students each week. In this case, the career discipline or context area, accounting, and the proficiency level and L1 of students are filled in.) 

• Generate a word list that includes 20 technical terms used in accounting that can be difficult to pronounce for advanced adult learners of English whose native language is Korean. Include the phonetic transcription of each along with the word, itself. 
• Create an engaging, 300 word story with as much dialogue as possible, using those 20 words, where the basic theme is where an accountant is probably stealing from one of the firm's clients.

WHAT FOLLOWS IS WHAT PERPLEXITY PRODUCED: 

-------------------------------------------------------------------------------

The Case of the Missing Revenue

At the prestigious firm of Ledger & Logic, the morning began as usual: the aroma of coffee mingled with the faint scent of freshly printed balance sheets. But today, something was off. Ms. Park, the head accountant, was hunched over her desk, eyes darting between the income statement and the cash flow report, her fingers nervously tapping the edge of the fiscal calendar.

“Strange variance in the revenue again,” she muttered, highlighting numbers with the intensity of a forensic auditor. The asset manager, Mr. Kim, peeked over her shoulder. “Did you check the subsidiary accounts? Last month’s reconciliation didn’t quite add up.”

Ms. Park nodded, flipping through a stack of inventory reports. “I did. But there’s an expense entry for ‘Mystery Amortization’—and I can’t find any supporting documents.” She frowned, recalling the audit last quarter, when a similar anomaly appeared under ‘depreciation’ for office plants.

As the team gathered for their weekly consolidation meeting, the boss announced, “We need to address the liability on our client’s books. The equity position looks weaker every month.” The room fell silent. Even the intern, who had just learned the difference between accrual and actual cash, sensed trouble.’

Suddenly, Mr. Kim spoke up. “I noticed the same thing in the reconciliation for our biggest client. The audit trail leads to a fiscal black hole—right into Mr. Cho’s office.” All eyes turned to Mr. Cho, who was busy pretending to do a subsidiary inventory count.

With a dramatic flourish, Ms. Park produced the incriminating balance sheet. “It’s clear: someone is siphoning off assets and hiding them under bogus expense and depreciation entries. The only question is—how long has this been going on?”

The office buzzed with whispers. In accounting, numbers never lie—but sometimes, accountants do.

The word list: 

Here is a list of 20 technical accounting terms that can be challenging for advanced adult English learners whose native language is Korean. Each term includes its standard IPA phonetic transcription, highlighting sounds that are often difficult for Korean speakers (such as /r/, /l/, /v/, /f/, /θ/, /ð/, /z/, and certain vowels).

Term IPA Pronunciation

• accounting /əˈkaʊn.tɪŋ/
• asset /ˈæ.sɛt/
• liability /ˌlaɪ.əˈbɪl.ə.ti/
• equity /ˈɛk.wɪ.ti/
• revenue /ˈrɛv.əˌnuː/
• expense /ɪkˈspɛns/
• depreciation /dɪˌpriː.ʃiˈeɪ.ʃən/
• amortization /əˌmɔːr.taɪˈzeɪ.ʃən/
• accrual /əˈkruː.əl/
• reconciliation /rɪˌkɒn.sɪl.iˈeɪ.ʃən/
• inventory /ˈɪn.vənˌtɔːr.i/
• audit /ˈɔː.dɪt/
• balance sheet /ˈbæ.ləns ʃiːt/
• income statement /ˈɪn.kʌm ˈsteɪt.mənt/
• cash flow /kæʃ floʊ/
• fiscal /ˈfɪs.kəl/
• variance /ˈveə.ri.əns/
• subsidiary /səbˈsɪd.iˌɛr.i/
• consolidation /kənˌsɒl.ɪˈdeɪ.ʃən/
• reconciliation /rɪˌkɒn.sɪl.iˈeɪ.ʃən/

Notes on Pronunciation Challenges:

• /r/ and /l/ distinctions (liability, reconciliation, accrual, balance)
• /v/ and /b/ (revenue, variance)
• /f/ and /p/ (fiscal, profit)
• /θ/ and /ð/ (method, although not in this list, is common in accounting)
• Vowel differences, especially /æ/, /ɪ/, /ʌ/, /ə/
• Stress patterns in multisyllabic words (depreciation, amortization, consolidation)
• These terms are essential in accounting and are frequently sources of pronunciation errors for Korean speakers due to the differences in sound inventories and syllable structure between English and Korean.

------------------------------------------------------------------------------

Not bad, eh! For this lesson, the MT4 is breaking up the sentences into rhythm groups, identifying the word with the most emphasis and then gesturing (jesturing!) on that word with the left hand tapping on the right deltoid muscle, termed the Syllable Butterfly. (You can see the training for that in this lesson from the Spring 2025 course.) 

How do you "get" the rhythm of a new language? Can you?

Clker.com

This is something of a follow up to a 3/10/24 blog post (All you need is rhythm . . . ).Turns out, not surprisingly, that natural "rhythmic sense" may give you an advantage in at least acquiring the pronunciation of a language . . . at least Norwegian! Interesting finding in a new study, Replication of population-level differences in auditory-motor synchronization ability in a Norwegian-speaking population, by Sjuls, Vulchanova & Assaneo of Norwegian University of Science and Technology (summarized in Neuroscience News as: Can rhythm sense predict language skills?).

The research found "pronounced" differences in the subjects of the study in terms of how quickly they could lock on to (or sync their body with) the rhythm of speech samples. Earlier research by the same team had established the general correlation between rhythmic sense and pronunciation accuracy. This study extends those findings considerably, implying that language learning more broadly considered may hang on perception of rhythm. The nexus of connections of rhythmic processing in the brain and grammatical structure has long been recognized and investigated. 

Of course, to quote my favorite Bertrand Russell quip: a difference that doesn't make a difference . . . doesn't make a difference, the critical thresholds on the rhythm perception continuum were not investigated but the existence of such barriers or facilitation points seems obvious. Any experienced language instructor who works with speaking in almost any context "knows" learners who fit both ends of the scale. The question is: what can be done for the naturally "rhythmically challenged?" 

A number of studies have demonstrated the benefit of early focus on the rhythm in acquiring an L2, but the direct connection to the underlying process involved has never been clear. In other words, the implications are that working with rhythm just for rhythm's sake for the FUN of it--not directly tied to the structure of the text in the lesson or specific words or lexical constructions  . . . may still be highly beneficial. So get out your guitar, raps and books of poetry . . .  just for the embodied experience of "getting" the rhythm of the L2. (You knew that!) You now have Neuroscience's permission! Go for it!(and you come join us who do embodied rhythm the haptic pronunciation teaching way, of course!) 

Source: Sjuls, G.S., Vulchanova, M.D. & Assaneo, M.F. Replication of population-level differences in auditory-motor synchronization ability in a Norwegian-speaking population. Commun Psychol 1, 47 (2023). https://doi.org/10.1038/s44271-023-00049-2

The "Fly-Chi": All you need is a little embodied, fluent rhythm--for "supra" vowels and consonants!

About a month ago, I stumbled on to a pair of "haptic" techniques, using "supra-segmentals," that is rhythm, stress and intonation--when used in sequence, that appear to dramatically and quickly improve the pronunciation of some multi-syllable words, including the pronunciation of individual vowels and consonants in them. I know that is a claim and a half! 

Here is the story . . . 

For over 15 years, two of the basic techniques of Haptic Pronunciation Teaching, have been the Syllable Butterfly and the Tai Chi Finger Flow Fluency. (Check out the links to those two from version 2.0.) The Butterfly focused on syllables and rhythm; the Tai Chi, on fluency. In a recent class where learners were trained in the Tai Chi, there was some additional time left at the end where we work on problematic words have noted during the week. The first student had several multi-syllable words, including 'custodial" and "maintenance." There was almost no contrast between stressed and unstressed syllables--and no obvious rhythmic structure. The Tai Chi technique made little difference, other than speeding up his speech a bit. 

For the first time ever in working with vocabulary, I had him do the Butterfly first, which exaggerates both stress contrast and rhythm/length of each syllable, and then the Tai Chi. The student and the class were almost blown away by the improvement. He sounded almost  . . . Canadian! Actually, his pronunciation of the segmentals, per se, did  not change much if at all, but the relative amplitude and length of the syllables certainly did! The same happened on another dozen words or so after that. In subsequent weeks, the final segment of each class has become basically problematic vocabulary done to the tune of the Butterfly and Tai Chi. Have already included the "Fly-Chi" in Lesson 2 of the KINETIK method!

It is well established in the field that if a learner has relatively good rhythm, including contrast between stressed and unstressed vowels, that problems with segmentals (vowels and consonants) should be less  . . . problematic. Actually, and more importantly, with unstressed syllables somewhat backgrounded, vowels tend to be "reduced" and consonant near misses are not only not as noticeable but elide (blend with) adjacent  sounds. The process is very evident developmentally in child language learning, as well as the efficacy of embodied techniques such as handclapping in facilitating enhancement of segmentals, e.g.,  Baills and Prieto, (2023.)

There are "billions and billions" of videos on the web demonstrating the phenomenon and the effect. What those demonstrations do not do, however, is show how to help learners work with the process consistently so that the changes "stick." In preparing for a recent class, I seem to have "discovered" a way . . . The problem with either just using hand clapping with sentences or longer texts, such as songs, or focusing on just one word at a time is that the learner generally not able to take the process out of class effectively, consistently, and remember what was temporarily "embodied" in the process.

Students are using the Fly-Chi now in homework. (I have three weeks of good data so far!) And at least initially, their ability to both change and remember targeted words appears greatly enhanced. Just a fascinating "theory" at this point, Help me test it--and report back! 

Baills, F., & Prieto, P. (2023). Embodying rhythmic properties of a foreign language through hand-clapping helps children to better pronounce words. Language Teaching Research, 27(6), 1576-1606. https://doi.org/10.1177/1362168820986716

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

Giving the nod to good pronunciation teaching: the "Coconut Cheeseburger" effect

Many in the field "look down on" using gesture and body movement extensively in pronunciation teaching; some of it is deserved, of course. But a new study adds an interesting new twist: upper torso "nodding" (at least in English), often observable when a native speaker is speaking rhythmically or stressing words in speech. (Note: This is a bit of stretch--literally, of the neck--but hang with me. My "discovery" of the upper torso nod early on was simply a game changer.)

In a study by Fumiaki Sato of Toyohashi Institute of Technology and colleagues (Summarized by Neurosciencenews.com) titled, Backward and forward neck tilt affects perceptual bias when interpreting ambiguous figures, subjects were shown three-dimensional cubes in their visual field where they had to either look up to focus on it, or look down to identify which of two or three others they were looking at. Basically, when nodding their head down slightly they were able to identify the cube more quickly than if they were looking up at it. (Moving to the left or right did not evoke an analogous difference in perception.) Fascinating study . . .  The researchers' discussion focuses on the role of that postural adjustment in affecting perception, without speculating further as to the implications of that finding. Allow me!

In 1987, on my way to a convention, I observed two strikingly different upper torso nods associated with the words, Coconut Cheeseburger. (For the full story, see the blog post on it from 2015.) One person, trying to explain why his friend had mistakenly received a 'coconut cheeseburger,' was claiming that what had been said was "coconut cheeseburger," used one torso nod, culminating on 'cheese.' The other person, argued that what she had actually said was, "Coke and a cheeseburger," using two torso nods, one on 'coke' and one on 'cheeseburger." You see the problem. Said with one torso nod--given that there was a sandwich of that description at time in the Florida Keys--the misunderstanding is  . . .well . .  understandable. 

In haptic pronunciation teaching--and perhaps all teaching in some sense in English, that basic pendulum-like motion of the body rhythm in speaking is fundamental, reflecting the muscles of the upper and lower chest, and diaphragm, coming together to expel air up and out through the vocal cords. At the "bottom" of each nod is where there should be, according to the research, at least some greater clarity and focus. If you "think" about, that downward motion of upper torso can have meaning in interpersonal communication from several perspectives. 

Some it, of course, is just visual marking of stress assignment, similar to the "baton" gesture. It can also, however, signify other concepts externally, such resignation or confidence or, depending on the speed of the gesture, varying degrees of engagement or energy involved. Regular, uncluttered rhythmic torso nods can imply semantic coherence in the speaker, that what is being said is thoroughly integrated at that point in time. Any highly accomplished public speaker generally has near total control and expressive use of upper torso "nodding" as well. 

In haptic work, almost every one of the three dozen or so designed gestures may be accompanied by an upper torso nod, depending on whether the stretch of speech is being articulated in "pieces" for some pedagogical purpose or fluently, approaching natural speech. In effect, the torso, not the head and arms is where the "action" is. How's yours?

See what I mean? If not, set up a video camera off to your left or right as you teach. Note when your speech is generally synced with your upper torso nods, and when it is not. If it is, well . . . take a bow! Then join us at www.actonhaptic.com!

And, of course, keep in touch!

Bill

Source: https://www.nature.com/articles/s41598-022-10985-4

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

"Parsing your words!" A key skill for teaching English rhythm!

A few (4) decades ago, in my first TESL course as an undergrad, we had a sentence something like the following, where the "point" was to show students that, in principle, any word in a sentence could be the location of the primary sentence stress, depending on the context and what had preceded in the conversation or story: 

                    My friend and I drove to the party in a rented, blue Ford station wagon. 

In our practicum, one of the assignments was, in fact, to have students repeat the sentence any number of times, even up to 15 in that case, where any word could be the focal or contrastive stress location. (You may have done something similar.) What that accomplished, in addition to massive confusion, is still not clear! In the unmaked condition, where that sentence somehow begins the conversation, on basic parsing would probably be: 

My friend and I / drove to the party / in a rented, / blue Ford station wagon.  

Ciker.com

To the native speaker, or near-native, that unmarked parsing is probably the concensus, and relatively easy to land on. Not so, generally, for the nonnative, however, in part because the decision as to where to parse the text relied on grammatical and discourse competence, not simply on how it "felt" to say it.  (In fact, I have found many native-speaking teacher trainees to be even less successful at producing the unmarked version of the text. They have been generally highly auditory and weak on grammar!) 

Once the "story" and previous preconceptions or events kick in, the stress could shift in any number of ways. There are some rules for guessing at the unmarked, of course, but they are not very helpful, such as:

• Stress tends to fall:
• on content words
• to the right
• on nouns or verbs, but not on prepositions, articles, adjectives or adverbs
• important concepts introduced earlier in the narrative that are contrastive to what is expected on marked constituents (context or previous events based)

So, how does one whose L1 is not English, learn how to parse texts for students, as is the basis of the "Rhythm First" protocol of the KINETIK method, where you parse the text and identify the primary-stressed word in each parse (or rhythm) group. Good question. One way is to take the KINETIK Method Instructor Certificate Course (KMICC) where each week you work on various short texts learning how to effectively parse to the intrinsic rhythm of the written (or spoken) text. At the conclusion of the 10-week course, participants are very good at parsing texts into what we call "embodied oral readings (EORs)," the key building block of the haptic, KINETIK instructional system. 

That sound like / a very good tool / to have on hand? 

Or

That sound / like a very good tool / to have on hand? 

or

That sound like a very good tool/ to have on hand? 

If so, join us: actonhaptic.com/kinetik or email me directly at: wracton@gmail.com

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

KINETIK (Haptic Pronunciation Teaching) Method Certification Course

 Three ways to take the course!

1. (FREE) Attend the weekly Haptic(web)inars, Tuesdays at 6 p.m. PST. Learn one technique per week. Tomorrow is Week 2. The technique this week is the "TaiChi - Finger-flow-fluency,," a great procedure for encouraging overall fluency and integrating new or changed sounds into spontaneous speaking. To join, go to www.actonhaptic.com and sign up! 

2. Attend the webinars and also get the student training videos and teaching handouts. (at very minimal cost!) 

3. Take the Certification Course (available beginning August 1st!) Here are the details:

KINƐTIK METHOD™applies the basic Movement, Tone and Touch Techniques (MT3 - gesture plus touch routines) of HaPT to enhancing learning and memory for any class content and language, not just specifically pronunciation. It also promotes general intelligibility, using more pronunciation-oriented techniques. The haptic gestures serve to “complement” instruction in all skill areas, speaking, listening, reading, writing, vocabulary, grammar . . . and even pronunciation!

The course contains four modules, three lessons each. (Each lesson takes about a week to complete)

• Module 1

• Lesson One - Syllable Butterfly and rhythm

• Lesson Two - Finger-flow Fluency

• Lesson Three – Haptic phonetics: th/th, f/v, p/b, y, w, consonant clusters

• Module 2

• Lesson One - Single vowels, word stress, and word-final consonants

• Lesson Two - Double vowels and phrasal and sentence stress.

• Lesson Three – Haptic phonetics: n/ng, l, r, s/z/sh/zh, tsh/dzh

• Module 3

• Lesson One - Basic intonation

• Lesson Two - Advanced intonation

• Lesson Three - Baton integration and linking

• Module 4

• Lesson One - Advanced rhythm and fluency

• Lesson Two - Tense, unstressed vowels and secondary stress,

• Lesson Three – KINƐTIC review, advanced integration, and Certification test

The structure of a typical lesson is something like this:

(A) Attend the weekly Hapticanar on that lesson or do the video of it. (About 30 minutes),

(B) Do the training video for that lesson, the same one you would use to train you students (5-10 minutes, but you might want to do it two or three times),

(C) You identify a short section of a text of some kind from your current course content or a previous course, and figure out how you could use the MT3 of that leson with in a short embodied oral reading, usually about 25-50 words.

(D) At the end of the week, you meet for an hour or so with 3 or 4 other instructors like yourself, hopefully who are teaching the same type of students, and ME (or another experienced Haptician) to go over the Embodied Oral Readings that the four of you have come up with.

After Module 4, you take a REALLY easy little certification test where you create a video showing that you can do some of the MT3s and write up a couple of pages telling me how you would sell your KINETIK MT3s to your students, your colleagues and your boss!

The cost will vary, depending on how many students there are in a course. If there are 6 students, the cost will be about $300 per student. (There are a maximum of 6 students per course,) If there are 2 students, the cost will be $800 per student. Special programs are available for schools and larger groups.

For more information, contact info@actonhaptic.com.

The course will be rolled out in Auguet 1, 2021. It will be featured and discussed in Acton Haptic Community on Locals.com. Stay tuned here for more information as it is released!

Haptic Webinar #2: How can a little "TaiChi" enhance uptake and speaking fluency?

Come to the next Haptic(web)inar and find out! To get there, go to the website and register. While you are there, check out videos of the Introduction to KINETIK Method and Webinar #1: The Syllable Butterfly technique!  (And, of course, Keep in Touch!

Where does really great pronunciation teaching begin? "GrammaRhythm-ing!"

Note: This is definitely NOT your "grandma's way" of teaching pronunciation or grammar!

Classroom work using the KINETIK Method of Haptic Pronunciation Teaching always begins with a  grammar and rhythm process, what we call "GrammaRhythm-ing."

1. Breaking up a written text / of some kind / into rhythm groups / of up to seven syllables, / based primarily on grammatical structure./ In other words, /you pause at places / where one grammar structure begins / and another leaves off. 
1. You also identify / what is probably the syllable / in the word with the strongest energy / or stress, usually the one off to the right. 
2. Reading the text together, once through, with hands touching in some way on each stressed syllable--to get the rhythm of the text.

THEN: You work on something in there using gesture and touch, maybe some vowels or consonants, intonation, expressiveness, or maybe just so that the text is remembered better. 

FINALLY: Use a different fluency and integration-oriented gesture as you read the passage together one last time to help encourage uptake of the haptic work. 

To get a good idea of how this done, join us at Hapticanar #1, Tuesday, June 15th at 6 p.m. (PST). Click HERE to reserve a spot for that!  

In case you missed the Introductory Hapticanar this week, check HERE or earlier the Haptic Story Promo, check HERE.

The "story" of pronunciation teaching: Engaging Preambles

One of the potential advantages of having taught pronunciation for a few years (in my case, almost 50) is that you have on hand a near endless supply of "success stories" from former students, no matter what you are teaching, ways to introduce and (hopefully) motivate yourself and students at the "drop of a hat."

Was reminded of that recently after viewing a plenary by one of the great storytellers in our field, Mario Rinvolucri. Although he does not talk about the use of stories as "preambles" in instruction per se in that talk or in this nice piece in TeachingEnglish.org,  I'm sure he'd concur with their value as such. Several other studies of storytelling in the field cover a wide range of classroom possibilities, but none that I have been able to find examine the "preamble" function.

My introduction to this function of storytelling was the work of Milton Erickson, back in the 1980s. (One of my all time favorite books on that was Erickson's classic "My voice will go with you." Here is an example of one of Erickson's stories done by Bill O'Hanlon (The audio of the originals with Erickson actually telling the stories is available but less accessible.)

I'll begin with one of my favorite personal "pronunciation preambles." Please add one of yours. Let's see where this story takes us!

Better pronunciation: over night!

Clker.com

I did a 1-hour workshop at a Korean University for about 400 undergraduates. The objective was to improve the rhythm of their spoken English . . .  overnight. All of them had conversations classes the next morning. (Important note: Only one of about 6 of the conversation teachers came to the workshop, although all were invited.) I trained the students to act like they were boxing when they spoke along first with easy dialogues on the screen and then, before we finished, with simple roleplays, in pairs. It got a little chaotic, as you can imagine, but they loved it! And just before I concluded the workshop, I gave them a "secret mission" . . . The next morning, in their speaking classes they were to use the same feeling in their upper bodies--without punching the air as boxing, as they were speaking in class WITHOUT LETTING ON TO THEIR TEACHERS THAT ANYTHING WAS DIFFERENT. I heard some amazing stories back. In the classes that pulled it off, the teachers were stunned by the difference in the rhythm and energy . . . and even playfulness evident in the speaking of the class.

Never fails. To see the basic technique, go here and check out the RFC demo.

Give us your best Pronunciation Preamble!

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

Clker.com

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.