Curs Comenius de formare continuă
Motivating Activities for Language Learning – 13- 26 septembrie 2009 -Totnes (sud –vestul Marii Britanii)
Catrina Luminita Mihaela– profesor limba engleză
Participantii au fost din: Lituania, Turcia, Slovacia, Spania, Bulgaria si România.
Obiectiv: Familiarizarea participanţilor cu o gama larga de activităţi menite stimulării motivaţiei celor care învaţă o limbă.
Sesiunile cursului au avut loc sub forma unor ateliere.
• S-a vorbit despre motivaţie, ce face o activitate sa fie motivanta si s-a impartasit din experienta profesionala.
• Au fost: jocuri lingvistice, teatru, activitati vizând pronunţia, activitati cu muzica si cântece.
• S-a studiat despre modalitati de organizare a interacţiunii din clasa, dezvoltarea umorului si folosirea unui limbaj autentic.
Adresa site - www.anpcdefp.ro
- Se adreseaza tuturor membrilor comunitatii educationale (elevilor, tuturor categoriilor de personal didactic)
- Sprijina financiar parteneriatele scolare, proiectele de formare a personalului didactic, retelele de parteneriat scolar si participarea la stagii de formare initiala si continua pentru a creste calitatea si a consolida dimensiunea europeana in educatie.
- Elevii au posibilitatea de a participa in activitatile de mobilitate (schimb de elevi, reuniune de proiect) in Proiectele de parteneriat multilateral sau bilateral Comenius.
Formarea continuă pentru personalul implicat in educaţia scolară se adreseaza cadrelor didactice din invatamantul preuniversitar si are ca scop imbunatatirea calitatii educatiei scolare. Aceste stagii trebuie sa se desfasoare in alta tara europeana pentru ca participantul sa-si imbunatateasca cunostintele si competentele de predare si sa cunoasca mai bine modul in care se realizeaza educatia scolara in Europa. Durata stagiilor de formare poate fi de 5 zile efective - 6 saptamani.Se finanteaza participarea la:
– Cursuri generale de formare
– Cursuri in domeniul metodologiei si pedagogiei predarii limbilor straine
– Cursuri pentru invatarea unei limbi straine
Pot candida:
| - profesori (inclusiv cei din invatamantul prescolar si vocational) | - consilieri psiho-pedagogici |
| - formatori | - consilieri pentru orientarea in cariera |
| - directori | - educator/mediator/facilitator pentru invatare |
| - manageri educationali | - personal implicat in educatia interculturala sau care lucreaza cu copii ai persoanelor itinerante, muncitorilor migranti, Rromi si nomazi, etc. |
| - personal administrativ sau alt personal nedidactic |
DISEMINARE CURS MOTIVATING ACTIVITIES FOR LANGUAGE LERNING
Setting up and managing dialogue. A range of formats that pairwork in the classroom can take:
Closed pairs
After making it clear what is going to be discussed, and with a clear signal from the teacher, the students in the class all turn to the person on their left or their right and start talking. The teacher is able to monitor by moving around the different pairs, but in a large class it will be difficult to hear everybody's dialogue.
Open pairs
In this form two students engage in dialogue whilst the rest of the class listens. This can serve as a model for the closed pairwork which is to follow. Or it can provide an opportunity for individual pairs to 'perform' (more accurately or more fluently) what they have been 'rehearsing' in closed pairs.
Back-to-back pairs
This can be used for telephone dialogues or other situations where you want to omit visual clues and encourage the learners to communicate through the sound of their words alone. A slightly less challenging and quieter variation is side-by-side pairs, where learners sit next to each other but try not to look at each other whilst they are talking.
Line dance formation
Students stand in two rows, facing one another, and enact their dialogue. At a given signal from the teacher, the student at the head of one row moves to the tail of that same row and all the other students in that row move up one, so that they have a new partner. They then re-enact their dialogue with their new partner.
Dyadic circles
The students stand in two circles, one inside the other, the students in the inner circle facing those in the outer. There should be an equal number of people in each circle. The students start a dialogue with the person facing them. At a given signal from the teacher the outer circle moves round one place so that everyone is now facing a different person. They now start a new dialogue on a similar or different topic. This can be repeated many times. If the class is small, the students can be seated in two concentric circles of chairs.
Miffing
The whole class stand up in a space where they are free to move around. They engage in dialogue with a person of their choosing and then move on to
somebody new when the dialogue has reached a natural conclusion, or at a given signal from the teacher. This type of pairwork is particularly suited to conducting various forms of survey.
The ever widening gap
The students stand in two lines facing each other in the middle of the room. They start talking to the person who is opposite them. As they continue their conversation they move gradually away from each other by walking slowly backwards. Eventually the students are at opposite ends of the room and have to raise their voices considerably. This is good for students who need to develop the ability to speak more loudly and clearly. The activity can be extended by asking students to move freely around in the space, whilst still continuing to talk to each other.
1. Jigsaw
Outline After reading the scripts for different scenes, students swap information about what they have read. They then watch the complete section to compare it with how they had imagined it
Focus Encouraging learners to access and activate information contained in
a script
Level Pre-intermediate plus
Time 30 minutes plus
Materials and preparation Choose two adjacent scenes including dialogue from a film or soap opera, or divide one scene into two fairly equal parts. You will need copies of the script of both scenes and the DVD that goes with it. See Dialogue Bank A on pp. 222-225 for an example from the film Mulholland Drive by David Lynch. (Dialogue Bank F on pp. 237-238 could also be used for this activitv.)
Procedure
1 Give one side of the class the script of the first scene and the other side the script of the second one. Ask the students to read it and work out the basic details of where the people are, what they are doing, what happens and what they are talking about. It may help to write these categories on the board.
2 In pairs or small groups, ask the students to discuss what information
they have worked out about the scene.
3 Now pair off students so that they are working with somebody who has
read the other scene. Ask them to share as much information as they can
about what they have read. What do they think the characters in the
scene are like? How old are they? What do they look like? What kind of
people are they?
4 Listen to the recording or show the complete scene on the DVD.
5 Discuss whether the characters and the scene were similar to how they
had imagined them.
2
What are they talking about?
Outline A dialogue is slowly revealed to the class, who try to interpret the situation in which it is happening
Focus Predicting content from contextual clues
Level Elementary plus
Time 5 minutes plus
Materials Choose a dialogue in which the topic of conversation is not
and immediately obvious. See the example below (from the CANCODE preparation corpus) for an intermediate class. Prepare a transparency of the
dialogue.
Procedure
Reveal the first line of the dialogue on the overhead projecter. Ask for
suggestions as to who is speaking, where the dialogue is taking place, and
what the purpose of the interaction is.
Reveal the next line or couple of lines and see if the learners want to
reinterpret how they saw the dialogue. Keep revealing lines and asking for
their interpretations until they have worked out as much as is possible.
Extension
Ask the students to find their own dialogues for interpretation as homework. These could be from the coursebook they are using, other coursebooks, or film or television scripts (see also The bit I like (1.13)). Make transparency copies of the dialogues they choose and allow each student a few minutes each lesson to present their own dialogues to the rest of the class as outlined above.
Box 4
A: So that's likely to be the best.
B: And what about capacity?
A: Capacity wise. . .the. . .most of these now take an eleven pound load.
B: Mm.
A: Erm and then coming back to Bosch as I say they're well built including the
drum. What they tend to do is put more holes in the drum because it's a
thicker drum.
B: Yes.
A: They're able to do that without weakening it.
B: So stainless steel's thicker?
A: More solid.
B: Mm.
A: Erm and they also sort of if you look at the back of them some of them are
flat. This is actually moulded so it's always pushing the clothes away from
the back.
B: Ah yeah.
A: And these paddles sort of lift it up. Now because there's more holes in the drum they're able to get water in quicker.
B: Mhm.
A: . . .and obviously get it out quicker as well and better.
B: Mhm.
A: And that's why you usually find that. . .
B: Do you price match by the way?
A: Oh yes.
B: You do. Yeah.
A: Yes. Oh yes. I mean if you saw that machine anywhere else cheaper then we
would.
B: Yes. I thought. I thought you would.
A: We would naturally match the price.
From the CANCODE Corpus of Spoken English © Cambridge University Press 2.007
3. Tricky words
Outline Students identify areas of a dialogue which are difficult to pronounce
and then listen again, paying particular attention to these areas
Focus Encouraging students to notice the pronunciation features of
tapescripts
Level Any
Time 15 minutes
Materials and preparation each student needs a copy of the tapescript for the listening material you are working with.
Procedure
After doing the listening tasks from the coursebook, give out copies of the
tapescript or direct the students to the tapescripts section at the back of
the book. Ask them to underline words or chunks that they would feel
unsure about if they had to pronounce them correctly themselves.
Invite students to get up and mingle. Ask them to share what they've
underlined with others and see if they can find somebody who can help
them with the pronunciation. Take a back seat yourself at this stage.
In pairs students have a go at saying their underlined bits to each other.
Again, do not get involved here. You want them to be very motivated to
listen carefully to the tape at the next stage.
Play the tape again and ask students to listen out carefully for the words
they picked.
If it's not too long, ask them to read the tapescript to each other in pairs
and to try to incorporate the correct pronunciation of their tricky
words.
4. Remembering the questions
Outline The students learn a series of questions by heart and then ask them of
their peers
Focus Fixing questions that activate a particular language area into short-term memory. The example below focuses on common collocations with make
Level Any
Time 20 minutes plus
Materials Prepare two lists of questions which use the language point you wish to practise. Half the class will need one list and the other half will need
the other. See Boxes 37 and 38 for examples.
Procedure
Divide the class into two sides. Give one side the first half of the questions
(Box 37), and the other side the other half (Box 38).
Tell them to ask each other the questions and compare answers in pairs.
Make dictionaries available and help out with issues of meaning.
They now need to choose people from the other side of the class whom
they would like to ask each question. Tell them to write down a list of the
names of the people they choose on a separate piece of paper. As they will
not be able to take the question sheet with them when they ask, they will
need to remember exactly which question goes with which person.
Demonstrate how they might do this by taking the first question as an
example, and talking them through a mental image you have created
which links the question with the name of one person in the class. The
more striking the mental image created the easier it will be to remember.
For instance, imagining the first person on the list jumping out of bed,
making their bed at breakneck speed, and then standing to attention like a
soldier, should serve to make the first question memorable.
When they have gone through all of the questions in this way, ask them to
put away the question sheet and to test themselves by just looking at their
lists of names and trying to remember the question for each person.
Taking only their lists of names with them, the students now mingle
around asking their questions and answering any that are asked of them.
Extension
Afterwards, or in the next lesson, pair the students up and ask them to try to recall and discuss which questions they asked to which student and how the student responded.
Variation
Instead of giving out the lists of questions, ask the students to design their own ones from a list of the language items you'd like them to practise, for example: make your bed, make a mess, make fun of you, etc.
Box 37
Do you make your bed as soon as you get up?
Who makes the most mess in your house?
Do people ever make fun of you?
What do you think is the best way of making a lot of money?
Do you enjoy making up stories?
Are you good at making cakes? Do you know somebody who is?
Do you feel that you're making progress with your English?
Do you make more mistakes when you're speaking or when you're writing?
Do you make more effort in the mornings or in the afternoons?
10 Does anyone make a fuss in your house if you come home late?
© Cambridge University Press 2007
Box 38
Who makes the most noise in your house?
Do you find it hard to make decisions?
What plans have you made for next year?
How many phone calls do you make a day?
What kind of things make you angry?
When was the last time you had to make an appointment? What was it for?
Do you know someone who is always making promises and then not keeping
them?
Who usually makes dinner in your house? How would you feel if you had to
make dinner every day?
9 Is there anyone who makes you do things that you don't want to do?
10 How would you feel about making a speech in front of a lot of people?
© Cambridge University Press 1007
