Love it or leave it: 2nd language body, voice, pronunciation and identity

Clker.com

Recall (if you can) the first time you were required to listen to or maybe analyze a recording of your voice. Surprising? Pleasing? Disgusting? Depressing? There are various estimates as to how much of your awareness of your voice is based on what it "feels" like to you, not your ears, but somewhere around 80% or so. Turns out your awareness of what your body looks like is similar.

A new study by Neyret, Bellido Rivas, Navarro and Slater, of the Experimental Virtual Environments (EVENT) Lab, University of Barcelona,  “Which Body Would You Like to Have? The Impact of Embodied Perspective on Body Perception and Body Evaluation in Immersive Virtual Reality” as summarized by Neuroscience News, found that our simple gut feelings about how (un)attractive our body shape or image is is generally more negative  than if we are able to view it more dispassionately or objectively "from a distance," as it were. Surprise. Using virtual reality technology subjects were presented with different body types and sizes, among them one that is precisely, to the external observer what the subject's body shape is. Subjects rated their "virtual body" shape more favorably than their earlier pre-experiment self-ratings presented in something analogous to a questionnaire format.

In psychotherapy, the basic principle of "distancing" from emotional grounding is fundamental; all sorts of ways to accomplish that such as visualizing yourself watching yourself doing something disconcerting or threatening to you. It is the "step back" metaphor that the brain takes very seriously if done right.

In this case, when visualizing the shape of your body (or your voice, by extension as part of the body,) you'll see it at least a little more favorably than when you describe it based on how it "feels" internally, the reason "body shaming" can work so effectively in some cases, or in pronunciation work, "accent shaming."

So, how can we use the insights from the research? First, systematic work by learners in critically listening to their voice should pay off, at least in some sense of resignation or even "like" so that the ear is not automatically tuned to react or aver.  (I'm sure there is research on that someplace but, for the life of me, I can't find it! Please help out with a good reference, if you can on that!) Is this some long overdue partial vindication of the seemingly interminable hours spent in the language lab? Could be in some cases.

Second, once a learner is able to "view" their L2 voice/identity relative to some ideal more dispassionately, it should be easier to work with it and make accommodations. That is one of the central assumptions of the "Lessac method" of voice development, which I have been relying on for over 30 years. It also calls into question the idea that aiming toward an ideal, native speaker accent is necessarily a mistake. You have to "see" yourself relative to it as more of an outsider, not  just from your solar plexus out . . . through your flabby abs, et al. . . .  My approach to accent reduction always begins there, before we get to changing anything. Call it: voice and body "re-sensitization."

See what I mean? If not, have somebody you don't know read this post to you again at Starbucks . . .

Original Source:
“Which Body Would You Like to Have? The Impact of Embodied Perspective on Body Perception and Body Evaluation in Immersive Virtual Reality”. Solène Neyret, Anna I. Bellido Rivas, Xavi Navarro and Mel Slater. Frontiers in Robotics and AI doi:10.3389/frobt.2020.00031.

Why does haptic pronunciation teaching work?

Good question! Here is an excerpt from the new Haptic Pronunciation Teaching - English (HaPT-E) Instructor notes. (If you'd like to preview the first 2 modules of the course (no charge) and get a free a copy of the Instructor Notes, contact: info@actonhaptic.com)

Essential Haptic Integrated Pronunciation Teaching (EHIEP):

• Provides a principled way to integrate body movement into pronunciation teaching, "embodying" a number of techniques commonly used, some consciously, some less so-- emphasizing the importance of the kinesthetic, “felt sense” of fluent body movement and speech. 
• Is HAPTIC!, using touch to make use of gesture systematic, consistent, focused and (relatively) "safe" and nonthreatening.
• Focuses on intelligibility and fluency, not just accuracy, but can be used for accent reduction, if desired.
• Integrates in basic voice training and public speaking skills --especially vocal resonance training--so that some improvement in vocal production is noticed relatively quickly by learner.
• Uses vowels as the conceptual center of the presentation and practice system, establishing a conceptual and sensory space matrix in which (1) sounds and processes can be learned and adjusted, and (2) production can be consciously regulated better.
• Is structured so that almost anyone, regardless of native language or learning style can learn it or learn to teach using it.
• Hooks learners on the process so that they do their homework! (If done right, it is stimulating and refreshing, especially when done for at least 30 minutes, every other day!) 
• Involves a set of basic, easy to learn exercises and techniques (warm up, vowels, word stress, rhythm and intonation) that are then integrated into classwork as the need arises. Seems especially effective in doing impromptu, incidental correction and modeling of pronunciation in classroom instruction.
• Balances conscious analysis and “noticing” with contextualized drill and controlled practice; balances energizing, motivating activities with controlled, focused procedures.
• Is more output-based system, encouraging earlier “safe” speaking and oral production than does many contemporary methods.
• Is based on research from several fields in addition to pronunciation teaching, including public speaking, drama, music, haptics, sports training, psychology and neuroscience. 
• Has been classroom tested over the last decade by hundreds of teachers. (Several empirical studies are now underway to better establish the effectiveness of the EHIEP method on more empirical, "scientific" grounds!)  

See also the YouTube summaries of the main modules from v3.0 (Not great video quality but reasonably informative.) 

On developing excellent pronunciation and gesture--according to John Wesley,1770.

Have just rediscovered Wesley's delightful classic "Directions Concerning Pronunciation and Gesture", a short pamphlet published in 1770. The style  that Wesley was promoting was to become something of the hallmark of the Wesleyan movement: strong, persuasive public speaking. Although I highly recommend reading the entire piece, here are some of Wesley's  (slightly paraphrased) "rules" below well worth heeding, most of which are as relevant today as were they then.

 Pronunciation

• Study the art of speaking betimes and practice it as often as possible.
• Be governed in speaking by reason, rather than example, and take special care as to whom you imitate.
• Develop a clear, strong voice that will fill the place wherein you speak.
• To do that, read or speak something aloud every morning for at least 30 minutes.
• Take care not to strain your voice at first; start low and raise it by degrees to a height.
• If you falter in your speech, read something in private daily, and pronounce every word and syllable so distinctly that they may have all their full sound and proportion . . . (in that way) you may learn to pronounce them more fluently at your leisure.
• Should you tend to mumble, do as Demosthenes, who cured himself of this defect by repeating orations everyday with pebbles in his mouth. 
• To avoid all kinds of unnatural tones of voice, endeavor to speak in public just as you do in common conversation.
• Labour to avoid the odious custom of spitting and coughing while speaking.

Gesture

• There should be nothing in the dispositions and motions of your body to offend the eyes of the spectators.
• Use a large looking glass as Demosthenes (again) did; learn to avoid all disagreeable and "unhandsome" gestures.
• Have a skillful and faithful friend to observe all your motions and to inform you which are proper and which are not.
• Use the right hand most, and when you use the left let it only be to accompany the other.
• Seldom stretch out your hand sideways, more than half a foot from the trunk of your body.
•  . . . remember while you are actually speaking you are not be studying any other motions, but use those that naturally arise from the subject of your discourse.
• And when you observe an eminent speaker, observe with utmost attention what conformity there is between his action and utterance and these rules. (You may afterwards imitate him at home 'till you have made his graces your own.)

 Most of the "gesture" guidelines and several of those for pronunciation are employed explicitly in public speaking training--and in haptic pronunciation teaching. Even some of the more colorful ones are still worth mentioning to students in encouraging effective speaking of all sorts. 

Experiential pronunciation learning: sing first, think later

Clip art: Clker

Clip art: Clker

Here is a 30-minute video by Per Bristow which is worth watching. (You might have to sign up for his free newsletter to view it, unfortunately . . . ) It takes him about 25 minutes to get to unpacking his method but when he does, as you will see, it is worth the wait, very consonant with HICP thinking. His basic approach is to set up what he calls a mind set of the "rapid or creative learner," beginning with kinaesthetic awareness, which leads to self awareness and beyond--from an almost entirely experiential learning perspective. Nothing he advocates is inconsistent with that of Lessac, for example, although it would be almost worth buying his DVD and signing up for his program for one of my students, just to see if and how it works. Being a singer, myself, what he says makes real sense and is probably not all that difficult, in principle, to manage--with a little self discipline and desire. But his basic pitch, that of developing a good, healthy voice, is dead on and well presented. (Even his accent is interesting!) If you don't have one yet, you should get one. 

Body wisdom: The Use and Training of the Human Body

See if a library nearby has this book by Arthur Lessac. Although long out of print, it still probably the most relevant to HICP, especially the "form-focused" work mentioned in the previous post. I have worked through it, cover to cover (which is the only way to "get it," according to Lessac) a couple of times and refer back to it constantly.  In the link above to Alibris.com you can see what a used copy is worth now ($127 ~$392). Break the bank: buy one. Or . . . if you are in the area sometime, stop by and I'll let you "touch" my copy. 

The "mouth" that roars!

Credit: Edward J. Walsh,
Boys Town National Research Hospital

Linked is a 2011 Science Daily summary of a study by Klemuk, Riede, Walsh, and Titze of the vocal cords of lions--and why they can roar so magnificently. (You are wondering already . . . how does that connect to HICP/EHIEP?) Simple. One key finding was that the fundamental frequency of the sound comes from the unique structure of the vocal cords, not via a signal from the brain. In other words, the big cat just "lets it go" and doesn't rip up things at the same time.

Humans can "roar" as well, with a little training. And every HICP instructor should be able to do it. In the Lessac system, the key benchmark, the "watershed" of the training, is achieved when the student can perform "the call," such as with the phrase, "Ahoy there!" It is done with complete abandon, no vocal stress and loud enough to be heard for (literally) a couple hundred meters, at least--even coming out of the most petite of bodies. It is a often a life-changing experience, one understood well by opera singers and (before the age of electronic amplification) most successful politicians.

Stressing your voice? Need a little more authority in your classroom? Have trouble getting students' attention? Try "calling" on the Lessac system, either from a licensed practitioner or get the book and do it yourself (recommended--takes about 3 months.)

What we (apparently) cannot learn from singing instructors

I've long been intrigued by two perhaps related "symptoms": (a) pronunciation instructors who seem to have a very high tolerance for their students' pronunciation problems (i.e., do not seem to be much affected by them or even perceive them) and (b) instructors who have great difficulty recognizing and dealing with their own "vocal health" issues (e.g, vocal stress, misuse or improper breathing).

Clip art: Clker

In this article summarized by Science Daily (with no authors noted!) investigating ability of singers to self-assess voice production problems, amateurs (not surprisingly), those over age 50-- and (surprisingly) singing instructors--were shown to be significantly less perceptive in that regard than professional singers. Why that might be the case is not explained, but (from a HICP perspective) it must have something to do with not being able to access the felt sense of the voice, either due to lack of training, age or being in a role where such (at least temporary) self awareness could be counterproductive.

I'm sure you can imagine instructional contexts where differing levels of such voice awareness could, in fact, be productive or beneficial as well. In both cases, either lack of awareness of self or other problematic voice/pronunciation, body-based vocal training such as the Lessac Method (which involves a great deal of  haptic integration) has been shown to be highly effective in establishing and managing voice awareness. If you are a singing (pronunciation) instructor, like I am, there may be much more your can learn from your body about your voice . . . and that of others.

HAPTICULATE! (Learning new or changed pronunciation efficiently)

Clip art: Clker

I like that term . . . Among voice coaches, the asymetrical relationship between "bone conduction" (perception of one's own voice experienced through the bones of the face) and "air conduction" (awareness based on input via the auditory nerve from the ears) is generally a given. Estimates range from 80/20 to 60/40. Thus, in training programs, the internal "felt sense" of the voice is understood as primary. (This abstract of a  study looks at varying frequency ranges involved.)

Assuming that observation is essentially correct, or at least useful--and drawing on research cited in several recent posts on the relative strength of different modalities in speech production and comprehension, here are the fundamentals from a HICPR perspective on how to manage your attention (or those of your students), to learn a new or corrected sound with optimal efficiency. In brief, there are 4 basic components: (What function each fulfills has also been elaborated in previous blog posts.)

A. Breathe in through the nose, then breathe out through the mouth as the word or phrase is articulated, accompanied by specific modality management--with haptic anchoring. See B and C, below.)
B. Focus strongly on the felt sense in your personal Vowel Resonance Center (a point, typically, in the bones of the face between the eyes or thereabouts, where bone-sound conduction is experienced most intensely or, for some, at a point in the throat or chest when speaking). The breathing procedure in A helps to create and maintain that focus.
C. Manage the visual field (Visual Field Management). Do that either by focusing on a fixed point in front of you, tracking hand movements with eyes or closing your eyes--or some combination.
D. Perform 2 or 3 "pedagogical movement patterns" (basically sign language-like movements/gestures through the visual field, terminating with both hands touching on the key, stressed syllable –haptic anchoring) as the target word or expression is . . . well . . hapticulated!

To resonate or not to resonate . . .

clip art:
Clker

All  effective voice training systems are based on the concept of using body resonance for anchoring, that is the "feeling" of sounds, not simply what come back through the ears from what we speak (which is of relatively little use for the most part.) Here is the engaging website of "The Voice Guy." It does an especially good job of explaining body resonance and how to develop it in three areas: (a) general  resonance in the head and throat, (b)  chest-focus resonance and, (c) the highly concentrated "Y-buzz" (see earlier posts on Lessac's model.)

The richer and more sensual the learner's experience of the sounds being learner or "adjusted," the better. And when that felt sense is linked with haptic anchoring, as in HICP/EHIEP work, it is almost too much like fun . . .