Experiential pronunciation learning

Probably the best model for understanding how haptic-integrated pronunciation work should work is Kolb's (1984) "experiential learning cycle." His four stages are (A) concrete experience, (B) reflective observation, (C) abstract conceptualization, and (D) active experimentation. 

Clip art: Clker

Haptic-integrated instruction makes Stage A a much more multiple modality experience The HICP framework from the outset contains strong elements of the visual/cognitive engagement as well, in addition to movement and touch sensations. (Many typical pronunciation teaching techniques begin with Stage B.) While maintaining the "felt sense" of the sound or word, in Stage C, the learner "attaches" its formal properties (its grammatical functions and collocation--where it occurs in conversation, etc.) as it is practiced. In Stage D, as the new or repaired sound is initially used in speaking or attended to in listening, the haptic anchor (the somatic/body feeling of the targeted sound) should be re-experienced or felt, signalling to the learner at a marginally conscious level such that it is noticed and further integrated. 

One frequent, sometimes humorous side effect of EHIEP work is that a new word is so strongly anchored in instruction that learners may get temporary "flash backs" to the training protocols or the classroom or the specific lesson. That, of course, also serves as delightful confirmation that learning is in process! (See earlier post on the "Hexis" of haptic-integrated instruction as well.) 

Touching memories

The nature of our memory for touch is apparently quite different from that of movement. The summary of the study linked above notes that, "A new touch does not erase the memory of a previous touch from working memory. Rather, new and old tactile memories can persist independently of each other, once a person's attention has registered the touches. (emphasis, mine) " The same is not the case with many forms of  movement, however,  which can be "replaced" by new movement patterns. What that means is that haptic anchoring, being a nexus of both movement and touch should be much more accessible to memory than movement (kinesthetic anchoring) by itself--and conscious attention to touch "events" (or TAGs) as we refer to them, should substantially enhance  learning the sound system.

Learning with students

One of the key principles of HIPoeces methodology is that, in a very real sense, instructors must learn the system  along with their students--literally. In an innovative proposal, Murphey et al (2004) argue that primary school teachers in Japan do something similar. As noted in earlier posts, there are in fact a number of reasons why it is generally preferable in haptic-integrated pronunciation work for the class to learn and practice key elements of the system following a video model, not from their instructors, at least initially, but with them. (Haptically-Integrating) O/ECE Pronunciation teachers of the world: Outsource!

Murphey, T., Asaoka, C., & Sekiguchi, M. (2004). Primary teachers co-learning english with their students. The Language Teacher, 28(2), 15-18.

Optic visuality versus haptic dance

An interesting distinction coming from the art world that captures something of what we attempt to achieve with haptic integration. In "optic" mode, as we stand in front of a sculpture, for example, we remain capable of considering the form, as well as potentially experiencing the piece as a whole. In "haptic dance" mode, however, we are "grabbed" by the artistic creation in a way that seems to bar reflection and other pre-frontal "cortexing"-- something analogous to Krashen's relatively useless, binary,  "acquisition vs learning" distinction. Continuous haptic integration (Chi) does aim for (and achieve) at least moments of total attention and concentration. Shall we dance?

Learning of haptic Icons

This study by Swerdfeger (2009) investigates the impact of rhythm and "melody" on learning of haptic icons. Haptic icons are touch and movement-based symbols, very much like those used in HIPoeces protocols, where a sound is anchored to the  visual field by movement and touch.  One of the findings is that rhythm tends to facilitate the process, whereas melodic elements (intonation) appear to be a wash at best, in some conditions interfering with anchoring. The implications of this work for understanding what haptic contributes to pronunciation instruction are fascinating. One perhaps coincidental parallel is the concept that learning a set of seven icons may be approaching the maximum number in this type of teaching system. The EHIEP vowel protocol (see earlier post) works with visual schemas of 7 "short" and 7 "double" vowels--presented and practiced with strong rhythmic grounding.

Potential Hapticnical terms

HapticTalk 

Hapticophile

Haptictyte

Hapticmite

Hapticons                                        

Hapticophant

Hapticians                                        

Hapticocyde

Hapticones                                       

Hapticophilia

Hapticological                                  

Hapticologue

Hapticemic
Hapticetic                      

Hapticolite

Hapticonic                                       

Haptickle

Hapticophonic                                 

Hapticophony

Mishaptic                                        

Hapticitude

Hapticonation  

Hapticnacious  

Hapticonalia

Haptichazzard          

Hapticonographically

Hapticilly                                         

Hapticalalia
HaptDictPro
Hapticaphobia
Haptication
Hapticary
Hapticoy
Hapticote
Hapticoat
Hapticode
Hapticotomy
Hapticlone
Hapticlown

Integrated Pronunciation Teaching

An interesting piece by Bainbridge and O'Shea (2010) on integrating pronunciation instruction in communicative work. Although it is not clear how one with less experience in voice work or  training in theater could pull off what they describe, they are still very much on target in their general approach--especially in the use of mood, controlled attention and movement. There are many examples such as this one of instructors who have developed relatively idiosyncratic systems which are obviously effective. Now if somebody could just figure out how to systematize such a framework so that it was more easily accessible to the rest of us . . .

The body "hexis"

Not entirely sure what Bourdieu meant by "body hexis" yet, but I like it! And will unpack more of it in subsequent posts: " . . . Language is a body technique and specifically linguistic, especially phonetic, competence is a dimension of the body hexis in which one’s whole relation to the social world is expressed..”
Pierre Bourdieu (1977). The economics of linguistic exchanges.  Social Sciences Information, 16(6), p. 660. (and thanks to Carolyn Kristjansson for passing that quote on to me!)

Boleslavsky on the actor

This from Boleslavsky's 1933 book, "The actor is usually word shy and inarticulate.Often he does not know what he does or how he does it, that makes him an actor. Even when he knows it, it is difficult for him to say it or write it. He can only express it in action. His language is a language of movement, of gesture, of voice, of the creation and projection of character by things done or left undone." Ever read a better description of the mindset of an accomplished (multiple modality) language learner?

Synesthesia and cross-modal interaction

Several posts have focused on the importance of engaging all senses and modalities for optimal efficiency in pronunciation work. Research in synesthesia points to the importance of the multiple paths of interconnectedness between brain centers. For our work, that cuts both ways. If all modalities are actively "online" in attending to the sound process targeted, the potential impact on memory and recall multiplies accordingly. Conversely, if some available modalities (such as body awareness, touch, or visual) are otherwise engaged or distracted, the effect goes the other direction. Pronunciation is, in that sense, a uniquely multi-modal problem for the learner. The expression, "Give me your undivided attention." takes on new meaning from that perspective!

Gesture in pronunciation teaching

The paper linked above, by Adam Brown, does a nice job of identifying the typical gestures used in (even moderately kinesthetic) pronunciation teaching. In principle, all the haptically-anchored movements used in HIPoeces fit within Brown's framework. Although the gestures listed are not presented as part of a coherent system, it still an interesting resource, a good place to begin.

Multi-tasking puts multiple-modality learning on ice!

Research in training athletes revealed long ago just how critical it is that learners are able focus on only "one task at a time," so to speak. For the figure skater, for example, that means that all of the components and skills of the performance routine must be developed to a level where there will be no conscious attention required to them during the "show." The same goes for learning and training periods: no "fractured" or partitioned attention allowed.

The parallel to pronunciation teaching is apt: learning a new sound or sound process is also by its very nature a multiple-modality problem which should be a thoroughly "whole body" experience, involving all modalities simultaneously. If it isn't, there is a very good chance that, just as in figure skating, it risks not engaging enough of the mind and brain for the target to be learned efficiently--if at all. Krashen (1972) and others were right that "monitoring" can be quite destructive to fluency and learning, but it goes considerably further.

So much of contemporary pronunciation instruction is at best "dis-integrated," and even more likely to be relatively dis-embodied, as well. That is especially the case with methods that over-rely on listening, explanation, uni-sensory repetition and non-systematic "learning-in-real communication" -- accompanied by the inevitable, random, multi-tasking and compromised, temporary, partial attention.

That "figures," doesn't it? They are just out of touch . . .

Why we shouldn't forget: How multi-modal or multi-sensory techniques work . . . really!

Common sense tells us that if we engage our visual, auditory, kinesthetic and tactile neural hardware simultaneously, we should be able to learn more effectively. The study linked above by Kelly & Avraamides demonstrates something of how that works. In effect, the information from all modalities tends to be "stored" in a common location in the brain. (It is also stored in other neural sites as well.) The implication for our work is that fixed locations in the visual field that are strongly associated with a sound or sound process, having been learned by (a) simultaneously locking the eyes and/or prioprioceptic nervous system on that point (b) where the hands have just arrived and are (d) momentarily touching, as the sound is (e) articulated, and the sound (f) is (to some degree) "heard" through the ears--should be readily recalled from any of those five directions. Pedagogically, that simply means efficiency. In other words, learners of any cognitive style, functioning in any skill area, should be better able to recall and begin using what they have anchored, what they have haptically integrated, later.

Initial hand position in goal-directed movement

In a very relevant study, Khoshnoodi, M., Motiei-langroudi, R.,Omrani, M., Ghaderi-pakdell, F., and Abbassian, A. (2006) demonstrate the importance for kinesthetic memory of a consistent "point of departure" of a movement through the visual field. The initial hand position seems to be more critical than the precise landing on the destination. What that means for HIPOECES work is that effective encoding and anchoring of sound structures such as vowels, consonants, stress, intonation and related phenomena by various types of "strokes" through the visual field, which generally terminate in or accompanied by some type of touch, may be as dependent on where the strokes begin as where they end. At the very least, careful attention to the entire course of movement of these directed, pedagogical gestures can potentially add substantial "punch" to the process. (One obvious way to do that is through the use of eye tracking analogous to that developed by OEI practitioners.) This insight should "move" us to further study!
Khoshnoodi, M., Motiei-langroudi, R.,Omrani, M., Ghaderi-pakdell, F., and Abbassian, A. (2006). Kinesthetic memory in distance reproduction task: importance of initial hand position information. Experimental Brain Research, Vol. 170 Issue 3, p312-319. DOI: 10.1007/s00221-005-0217-5

Arthur Lessac - Requiescat in pace

Just received the following from Planaria Rice, "Arthur Lessac has just passed away. He was 101 and had just returned from Rijeka, Croatia.  The University of Rijeka is setting up a new dramatic arts, music department, etc, and wanted Arthur to train their professors in his methods. He developed heart failure shortly after returning--but what a triumphant way to go!!!!!  Here is a tribute to him from Rijeka." Lessac was both visionary and master teacher, a rare combination. He will be greatly missed, but the "body" of his work goes on! As he put it so succinctly,"Train the Body first!"

Essential, Haptically-Integrated English Pronunciation (EHIEP) 'ape' Teaching Workshop

Here is a short description of the new training workshop that we are about to roll out this summer. 
(Cost per participant will depend on how many participants.)

• This one-day workshop presents a basic method and set of techniques for teaching English pronunciation to ESL students. Features of the workshop include: It is designed for instructors with little or no previous training in pronunciation teaching, (and is especially appropriate for nonnative English speaking instructors.)
• The techniques introduced are designed for use with beginning and intermediate-level students, but can be easily adapted for use with learners of all levels.
• Participants are trained in using the Oxford American English dictionary (and are provided with a free copy as well!) for teaching pronunciation and vocabulary development.
• Participants are given extensive practice in conducting the techniques and procedures to take back and use in their classrooms.
• At the conclusion of the workshop, participants are provided with a DVD containing all the techniques from the workshop which they can use in their classrooms. (Students and Instructor together are taught by “aping” the video, following along and practicing basic procedures.) All initial instruction can be done by using the video. After that, instructors use the techniques in teaching throughout the curriculum.
• The “integrated” techniques are designed to be used in all ESL classes, speaking, listening, reading or writing.
•  In preparation, participants are sent preparatory workshop materials and instructions, along with required reading to be completed before arriving at the workshop.
• The most innovative feature of the method presented is the extensive use of haptic-based (movement and touch) teaching techniques. The method has been shown to be highly effective in assisting students in integrating new pronunciation into their spontaneous speaking.
• Participants may sign up (for a small fee) for follow up webcam consultations or webcam-based lessons for their class, led by a qualified EHIEP instructor. 

Pronunciation word lists ride again!

Although a bit "retro" at face value, the previous post on the impact of patterning on sign language memory access (http://www.sciencedaily.com/releases/2011/03/110322105438.htm), suggests that having learners practice (haptic-anchored) word lists such as those linked above, even of semantically unrelated words, may have some real value, especially in dealing with fossilized pronunciation where the "felt sense" of a word must be replaced. Imagine! Decontextualized, dis-integrated pronunciation work! We will figure out a way to test that hypothesis--soon!

Why a little stress in pronunciation work is maybe a good thing!

Turns out that perhaps being in a good mood is bad for working memory! None would  accuse your average pronunciation lesson of being overly "warm fuzzy" or laid back. What this research seems to suggest is that being juiced affectively may be good for spiking creativity but you'll be less likely to remember what was to be learned later. This relates to an earlier post on what is potentially "wrong" with some drama-based pronunciation teaching: uncontrolled fun and excitement. HIIP (Haptic-integrated, Integrated Pronunciation), our new acronym, aims at management of all modalities, simultaneously--done in a spirit of  productive good fun and whole-body engagement.

Associating movement with sounds and words

The research reported above examines the link between recall of words and signs in American Sign Language subjects. What was discovered was that recall for words that have signs made with similar strokes across the visual field was better than for words that had significantly different sign/stroke patterns. (In other words, the sign serves as a strong associative hub-like function.) What that implies for HIPoeces work is that learners should, for example, be able to better recall the stressed vowel in a word, since the sign-like stroke used in HIPoeces for that vowel is used in all other words the learner has practiced with the same vowel sound. The principle should apply also for rhythm patterns and intonation contours/processes. Numerous studies of the impact of haptic or kinesthetic-related memory validate that general concept:

HIIP (Haptic-integrated Integrated Pronunciation)

One of the clearest themes emerging from the SPLIS (Speech-pronunciation-listening Interest Section) presentations at the 2011 TESOL conference has been the need for integration of pronunciation into skills (speaking, listening, reading and writing) classes, and content classes. Next year's academic session may, in fact, focus on just that. The "problem" is that simply doing pronunciation exercises in a skills class, regardless of how communicative or clever, often does not work--unless there is a strong connection to the language content being learned--not just practice of the process or sounds themselves.In other words, sticking in pieces of a pronunciation text in "regular" classes is not the answer. Research has been telling us for some time that we need much more anchoring and integrated practice if the instructional "stuff" is going to stick.(Why that is the case will be the subject of a later post.)  Haptic-integrated protocols are, in essence, teaching techniques that are used throughout the curriculum, exploiting any text or conversation where oral or listening comprehension is involved. The impact of haptic work, referenced in many of the earlier posts, is to powerfully anchor new learning and provide learners with techniques to use outside of the classroom as well.