This paper belongs to the field of

materials development. It is based

on a personal experience in using

video songs in the classroom. This

experience goes back to the period

when I was a practising teacher, and

then it has developed more and more

during my work as a supervisor. I

haven’t included many references in

this paper because I wanted to pass a

practical experience which I think is

the most needed. For further details,

the bibliography at the end of this

paper is a useful one. The

workshops included have been a

refined and condensed version of the

many workshops I have conducted

within my work as a supervisor,

during MATE (The Moroccan

Association of Teachers of English)

activities. Also, the lessons were

taught to different classes and by

different teachers, and many

changes were made so as to have the

best lessons possible. In a word, this

work has been the fruit of a field

experience and classroom work. My

only recommendation is that it

should be used by teachers,

supervisors and teacher-trainers as a

starting point for more creative

work. Mastering the use of video in

the language classroom can only be

achieved through practice; this is the

key word in this area of teaching

materials.

No one doubts the importance of songs in

foreign language teaching (FLT). They

have gained a prestigious position for their

cultural, pedagogical, linguistic and

entertaining dimensions when used as a

teaching tool and subject matter. However,

the quantitative and qualitative use of

songs in FLT in Morocco is still limited. At

least, this is what published pedagogical

documents and publicised pedagogical

interest and activities show. Also, interest

shown and expressed by teachers and

practical classroom work are not matched.

The use of video songs in teaching, though

it heightens the importance and attractive

use of songs in FLT, has not yet stood up to

its eminent position in song teaching in

foreign language (FL) classrooms.

Therefore, the aims of this paper are:

- to highlight the importance of songs in FL

teaching and learning and at the same time

contribute to the development of

pedagogical documentation in the field;

- to sensitise teachers to the importance of

video song teaching and the possible

benefits to be gained by both teachers and

learners;

- to introduce teachers to some ways and

techniques related to video song teaching;

- to present some samples of experimented

lesson plans of video-songs for teachers to

start with, and workshops for teachertrainers

and supervisors to be used in

teacher training.

Songs are a fundamental part of every

culture and consequently of every

language. Therefore, the teaching of any

language, especially foreign languages,

should include song teaching as part of its

normal pedagogical practices. The aim of

this section is not to lecture on the

legitimacy of song teaching in FL classes,

for no one argues against its crucial

importance as a pedagogical tool and

subject matter. Yet, it is deemed necessary

to jot down some of the outstanding

reasons why songs are important in the

field of FLT. The necessity for such

statement of reasons stems from the fact

that song teaching has not yet been given

its due importance in FLT in Morocco,

either through a total or partial negligence

or through a casual use of songs that does

not consider the integrative use of songs in

the syllabus nor the systematic, pedagogical

and didactic ways of song teaching. The

good integration of songs in the Moroccan

ELT curriculum helps in the achievement

of and goes hand in hand with many of the

aims and objectives of ELT at the

secondary level. Song teaching is

important for various reasons that can be

classified as follows:

i. cultural and linguistic reasons

ii. pedagogical reasons

iii. technical and material reasons.

Concerning the cultural and linguistic

aspects of song teaching in FLT; we state

the following:

- songs represent a crucial part of the

culture of the language being taught

- as an artistic form of expression, songs

differ from one culture to another which

necessitates their inclusion in the foreign

language syllabus

- songs contain a special variety of

language forms and represent a special

form of writing

- songs are part of the culture of the youth

to which our learners belong

- songs contribute to cultural tolerance and

openness.

Pedagogically speaking, songs lend

themselves to so many ways of exploitation

in FL teaching and learning for a multitude

of reasons:

- songs are forms of artistic expression that

can par excellence combine learning and

entertainment

- learners of foreign languages need some

help in the appreciation and enjoyment of

this artistic form (i.e. songs) that belongs to

a foreign culture, and they also need some

guidance and knowledge concerning

different types of songs

- songs represent an authentic type of

discourse

- songs are excellent means for the

development of listening and pronunciation

- though a listening activity in the first

place, songs can easily be integrated with

other skills (reading, writing and speaking)

and into other parts of the language course

(grammar, functions, vocabulary,

composition, etc.)

- song teaching contributes to a favourable

teaching and learning atmosphere by

creating a relaxing and motivating

situations with a reduced amount of anxiety

and pressure

- songs provide a good opportunity to poem

teaching

- songs can be accompanied by a multiple

types of language activities and exercises

- teachers share a general feeling of the

importance of song teaching and many of

them have tried in a way or another to

introduce them in their pedagogical

practices

- learners have a natural psychological

predisposition to learn from and through

songs; hence motivation is guaranteed.

What we mean by the material and

technical side is the materials needed;

video-cassettes, CDs, the songs and lyrics,

electricity, spatial conditions, time

constraints and the ability to use the

materials by teachers and learners.

According to Moroccan reality:

- VCR/DVD/VCD players, video-cassettes,

CDs, and songs are in most cases available,

affordable and exchangeable

- the technical materials and spatial

conditions needed are not out of the reach

of teachers, learners and institutions

- a song stands as a complete entity with an

optimal length and density

- song teaching does not demand much

effort and expertise on the part of teachers

to prepare for classroom use (but practice

in the technical side is essential).

- tVCR/DVD/VCD players can be an

introduction, extension or substitution to

multimedia through the computer when the

latter is not available.

Song teaching in Morocco has usually been

carried out through the audio-cassette/CD

player (ACP). The ACP actually does help

in reflecting the previously stated aspects.

However, there are some advantages of

video in song teaching. By this we do not

claim the supremacy of one medium over

the other; both prove when used effectively

to be excellent media in song teaching; yet

there are some differences that are worth

mentioning.

The ACP is technically very useful as a

means for the development of the listening

skill and exposure to native speakers of the

target language. In addition to its use in

FLT for the previously stated reasons

(namely the cultural, linguistic, pedagogical

and material), it is practically the most

suitable tool in song teaching (compared to

actual music playing and singing by the

teacher or/and students, or the video song

which requires the availability of a TV set,

a VCR/DVD/VCD player and a CD or

video-cassette). It is also cheap and easy to

carry.

Pedagogically speaking, the ACP allows

for a variety of language activities as far as

the listening skill is concerned. The

learners are more geared towards an

optimal concentration that serves in the

development of their listening skills. Their

listening is not biased by any other

disturbances; visual or whatever. When

using the ACP, it is pure listening that is

concerned, and every activity either starts

with listening or ends up by listening. So

what does the video song add to song

teaching which the ACP cannot do?

Certainly the visual dimension; but still

that is not all.

When video materials are used in song

teaching, practically all the uses and

activities carried out through the ACP are

still there. Video materials can technically

be used for purely listening purposes by

playing the video with the sound on and the

vision off. In addition to this, there is the

visual dimension stated earlier which is the

exceptional and most important advantage

of video materials. With this visual

dimension, the cultural, pedagogical and

technical aspects are more emphacised and

enriched.

Most songs are now available in video CDs

(VCD) or DVDs. Unlike songs in audiocassettes

or audio CDs which have only

one form; the recorded sound, songs in

videos are produced in different forms.

There are songs that are recorded in videos:

- on stage during live concerts,

- in studios,

- as video clips with the presence of

singers and music players,

- as video clips without the presence of

singers and music players,

- as musical sequences taken from movies

(musical or other),

- or as songs accompanied by the lyrics

shown on the screen (karaoke).

This variety in forms gives more

opportunity for the variety of activities and

didactic practices; that is more than the one

form through the ACP.

The DVD player is perhaps the most

successful means (the computer with its

interactive multimedia facilities can be the

only challenge to the DVD) that can

introduce the song in the classroom in its

entirety; that is the song as including the

text, the music, the voice and the physical

performance. It follows that the visual

presentation of songs in videos serves the

pedagogical use of songs in FLT in many

ways. To mention but a few special

services, song teaching through the DVD

player

- presents visual clues accompanying the

song which can be exploited in lots of ways

- enriches the didactic practices by

interesting combinations between viewing

and listening

- provides learners with necessary

knowledge and training to analyse video

clips, and the ability to make conscientious

selections

- fosters active viewing and evaluative

appreciation of video clips learners watch

- is compatible with the modern age which

is vision-oriented

- can be a good introduction or substitute

for multimedia through the computer if the

latter is not available (in fact, the DVD

player is a real multimedia).

Song teaching through the DVD player,

though a very beneficial pedagogical

practice as it stands, is surely not free of

difficulties and problems. Compared to the

ACP (as stated before), though the DVD

player maximises the pedagogical, cultural

and technical benefits, it at the same time

raises some problems. These problems and

difficulties can be divided into three types:

general,

in particular,

songs, teachers face some problems of

general order, especially non-native

speakers as the case with Moroccan

teachers. Of such type of problems we can

state the following:

- words can be difficult to write down from

a song and it is also difficult to find printed

lyrics (the internet is a solution now)

- the difficulty of finding songs with

suitable subject matter to teach and

compatible content to go with the syllabus

- songs can be overloaded with lexical

items to teach or may contain slang and

strange vocabulary and expressions

- the cultural bias that songs may include

especially those that are too different from

or contradictory to the local culture of

teachers and learners

- song teaching demands special

preparation which means extra work for

teachers

- lack or scarcity of teaching materials and

pedagogical documents related to song

teaching.

using the DVD in song teaching poses

some special problems to teachers among

which the following are the most prevalent:

player, TV set and CDs (this is one of the

very acute problems that hinders teachers'

use of video songs in teaching though

some determined teachers bring their own

materials)

- the need for training teachers on the use

of video materials

- the difficulty to find suitable video songs

in comparison to other videos such as films

and documentaries.

teachers may find difficulties on how to

- combine work (learning) and play

(entertainment) in song teaching through

preparing activities that create a balance

between the two aspects

- design suitable activities and exercises

that make use of the two important aspects

of video songs; the visual and the aural

- remedy for the lack of experience,

training and pedagogical documents

- deal with cultural sensitivity shown in

available video songs

- relate songs to the syllabus and deal with

time constraints.

To all these types of problems and

difficulties taking into consideration the

Moroccan context, the most important

answer is collaborative work among

teachers, the sharing of experiences and

documents in the field, and the

communication between those who know

and are more experienced and those who do

not know or are less experienced. Another

important element in facing those problems

is to start by doing things when no other

help is available; and through trial and error

teachers will start to develop good and

effective experience. According to my

personal field experience and reality

observation, even with the availability of

materials and documents, it is only the

repetitive practice of and experimentation

with video materials in the classroom that

may lead to real mastery of the tool.

material, the choice of songs and videos to

use in the classroom will depend on

different variables such as the students,

objectives, topic, language, tasks, syllabus,

etc. The fact of using video songs in the

classroom for their own sake would not

lead to good benefits without considering

those variables; for using videos for

teaching and learning purposes differ

considerably from their uses for pure

entertainment at home, in a disco or at

parties.

teacher should consider and exploit all the

main constituents of the video song;

namely, the text (form and content), the

music, the voice, the physical performance

and the visual presentation of the song.

Most emphasis should be on the visual and

motivational aspects which are the most

important in video-song teaching.

with as a planned, principled and integrated

work in FL classes. It should fit within the

syllabus (considering language, content and

skills) with clear objectives and

organisation (type of activities, timing and

frequency of use in the classroom).

Understanding and comprehension should

target the analysis of both listening and

viewing media.

try and introduce varied types of activities

so as not to create a monotonous and

expected form of video-song teaching (e.g.

most teachers resort to blank filling and

comprehension questions in song teaching),

and they should deal with varied aspects of

the song (linguistic and non-linguistic) so

as to make good exploitation of the tool

used (i.e. the DVD and the song).

4.1. Two workshops for teacher-trainers and supervisors:

- to urge teachers to make use of video materials in the classroom with some basic

pedagogical and technical knowledge

- to introduce teachers to some general and basic principles and techniques concerning

video songs in language teaching

- to present some possible activities for video lessons.

The following questions can serve as a springboard for an introductory discussion of the

topic:

other teaching aids (pictures, textbooks, audio-cassette recorder, newspapers,

readers, etc.)?

The following quote can be used as a means to enrich the discussion:

possible pedagogical objectives of every technique)

i- with sound only (sound on / vision off: only listening with the screen covered with a

cloth or a newspaper)

ii- without sound (sound off / vision on: silent viewing)

iii- right through from beginning to end (complete viewing: both sound and vision on)

iv- in parts (jumbling sequences)

v- freeze-frame (motionless pictures: pause control)

vi- split viewing (jigsaw-viewing: some of the class listen without watching while the others

listen and watch)

reading comprehension, listening comprehension, writing, etc.), but the viewing medium

should be emphasised, as well as the motivational power that characterises video materials.

Viewing should not be introduced for its own sake, but it should be an active one through the

presentation of tasks and activities that help learners understand, and guide their viewing and

comprehension. So, to foster active viewing, three types of activities can be integrated in the

lesson: pre-viewing activities, (while) viewing activities, and post-viewing activities.

concerns, testing, etc.

specialised material, off-air/self-recorded material

“…long enough to convey meaningful content, yet short enough to allow classroom

Below is a list of activities (not an exhaustive one) that can fit for the three types of activities.

Teachers put the activities under the appropriate heading in the following table. Some

activities are suitable for only one type; others may fit within more than one part of the table.

In the latter case, teachers should give convincing arguments:

-1- discussion of the video title -2- information gathering -3- setting the scene -4-

discussion/debate -5- film summary reading -6- putting the scenes in chronological order

-7- matching exercises -8- film interruptions -9- a list of characters -10- film summary

writing -11- note-taking -12- prediction/guessing -13- alternative endings -14- setting a

task for viewing -15- jigsaw viewing/listening -16- setting comparison with native culture

-17- pre-viewing questions -18- directed listening/viewing -19- true/false -20- using notes

for writing practice -21- brain-storming activities -22- role-plays/simulation games -23-

freeze-frame -24- paragraph organisation -25- completion of clozed dialogues -26-

comprehension check -27- dictionary/vocabulary work -28- blank-filling.

- to draw teachers’ attention to the differences between song teaching through the audiocassette/

CD player (ACP) and through the DVD plater

- to train teachers on how to prepare a video-song lesson.

Anticipate

Practice

Communicate

What is the difference between teaching songs through the DVD and through the ACP?

considering the elements in this table:

It’s late in the evening

She’s wondering what (1) to wear,

She’ll (2) her make up,

And (3) her long hair,

And then she’ll ask me, “do I (4)__________

?”

And I’ll say, “yes, you look wonderful tonight.”

You go to (5) _________ ____________

And every one turns to see this (6)_______ lady

That’s walking around me, and then she’ll ask me;

“Do you (7)_________ _________ ________?”

And I’ll say, “Yes, I feel wonderful tonight,

And I feel wonderful because I see

The love light in your eye,

And the wonder of it all

Is that you just don’t realise

How much I love you.”

It’s time to (8) ,

And I’ve got an aching head,

So I’ll (9) the car keys,

She’ll help me to bed, And then I’ll tell her

As I (10) the light, I’ll say;

“My darling, you were wonderful tonight,

Oh, my darling, you were wonderful tonight.”

We are a rock revolving around the golden sun,

We are a billion children rolled into one,

So when I hear about a hole in the sky,

Salt water wells in my eyes.

We climbed the highest mountain,

We’ll make the desert bloom,

We’re so ingenious we can walk on the moon,

But when I hear about the forests that’ve died,

Salt water wells in my eyes.

I have lived for love,

But now that’s not enough,

For the world that I love is dying,

And now I’m crying,

And time is not a friend, (And no friend of mine),

As friends we run out of time,

And it’s slowly passing by,

Right before our eyes.

We light the deepest oceans,

Send photographs of Mars,

We’re so enchanted by how clever we are.

Why should one baby feel so hungry she cries?

Salt water wells in my eyes.

What will I think of me the day that I die?

Salt water wells in my eyes.

- structure / vocabulary presentation

- reading the script + task

(guessing):

What is the song about?

- filling the blanks in the work sheet

(without viewing or listening) +

negotiation of findings

- first viewing + checking answers

singing.

- vocabulary / glossary of key words

- introducing the song / singer / the video

video shows? (students take notes while watching)

- students answer the viewing task using the following

expressions: “I think/I guess/It seems to me/Perhaps/

According to me the song (or the video) is about …”

- reading the script + checking the answers

pictures in the video as you expected? Do the pictures add

to your understanding of the song? Which do you prefer:

listening to the song in an audio-cassette recorder or

watching the video-song?”

- further study of the video: play the video again and

freeze-frame at certain pictures to extend or clarify certain

points/ideas.

- students write an essay about one of the topics discussed

or the main topic of the song.

considering the elements included in the table and using the information presented earlier in

the previous two lessons:

I wanna (want to) love you

And treat you right,

I want to love you

Every day and every night.

We’ll be together

With the roof right over our head,

We’ll share the shelter

Of my single bed.

We’ll share the same room,

Oh, Jah provide the bread.

Is this love, is this love,

Is this love that I am feeling?

I wanna (want to) know, I wanna know now;

I’ve got to know, I’ve got to know now;

I am willing and able,

So I throw my cards on your table.

- Teachers exchange their lesson preparation with other groups and compare them with their own.

- Teachers compare their lessons with the following lesson preparation.

I wanna (want to) love you

And treat you (1) ,

I want to love you

Every day and (2) .

We’ll be together

With the roof right (3) ,

We’ll share the shelter

Of (4) .

We’ll share the (5) ,

Oh, Jah provide the bread.

Is this love, is this love,

Is this love that I (6) ?

I wanna (want to) know, I wanna know now;

I’ve got to know, I’ve got to know now;

I am willing and able,

So I throw my (7) .

.

1. play the first picture and freeze-frame at B. Marley.

Ask the questions: - Who is the man? – What does he do?

– Where is he from? - What type of music does he sing?

2. presentation of some vocabulary items

3. anticipation: play the first scene and freeze-frame at B.

Marley and the two children. Ask these questions:

- Who is he with? Where are they going?

1. play first two stanzas, vision off / sound on (only

listening); students try to guess the answer?

students’ answers.

3. description of: the place / children / activities.

1. first complete viewing; vision on / sound on

2. second viewing + filling the blanks

3. correction + exploitation of visual clues for difficult

items.

topics included in the song.

I wanna (want to) love you

I want to love you

We’ll be together

We’ll share the shelter

Oh, Jah provide the bread.

Is this love, is this love,

I wanna (want to) know, I wanna know now;

I’ve got to know, I’ve got to know now;

I am willing and able,

1. play the first picture and freeze-frame at B.Marley. Ask

the questions: - Who is the man? – What does he do? –

Where is he from? - What type of music does he sing?

2. presentation of some vocabulary items

3- anticipation: play the first scene and freeze-frame at B.

Marley and the two children. Ask these questions:

- Who is he with? Where are they going?

1. play first two stanzas, vision off / sound on (only

listening); students try to guess the answer?

students’ answers

3. description of: the place / children / activities

1. first complete viewing; vision on / sound on

2. second complete viewing + filling the blanks

3. correction + exploitation of visual clues for difficult

items.

- discussion of the video clip and the topics included in the

song.

Here comes the rain again,

Falling on my head like a memory,

Falling on my head like a new emotion.

I want to walk in the open wind,

I want to talk like lovers do,

I want to dive into your ocean,

Is it raining with you?

So baby, talk to me, like lovers do,

Walk with me, like lovers do;

Talk to me, like lovers do.

Here comes the rain again,

Raining on my head like a tragedy;

Tearing me apart like a new emotion.

I want to breathe in the open wind,

I want to kiss like lovers do,

I want to dive into your ocean,

Is it raining with you?

CHORUS

REPEAT VERSE (1)

CHORUS

1. silent viewing of the first pictures before the singer appears

+ description

students (SS) guess about the general atmosphere of the song

+ introducing the singer / the song / vocabulary.

music.

- SS view part 2 + discussion (theme / scenes)

- complete viewing + singing

- discussion: What does rain stand for in the song?

It’s late in the evening

And I’ll say, “yes, you look wonderful tonight.”

That’s walking around me, And then she’ll ask me;

And I’ll say, “yes, I feel wonderful tonight,

And I feel wonderful because I see

The love light in your eye, And the wonder of it all

Is that you just don’t realize how much I love you.”

She’ll help me to bed, And then I’ll tell her

“My darling, you were wonderful tonight,

Oh, my darling, you were wonderful tonight.”

- structure / vocabulary presentation

- reading the script + task (guessing):

What is the song about?

- filling the blanks in the work sheet

(without viewing or listening) +

negotiation of findings

- introducing the video song (information

about Wembly Concert,1988, and the

solidarity of artists with then-imprisoned

- first viewing + checking answers

-description of singers, audience, place,

etc.

* * * * * * *

* * * * * * *

* * * * * * *

* * * * * * *

* * * * * * *

- structures & grammar: present perfect +

passive voice (with silent viewing and freezeframing

some pictures at the beginning provide

good context to practice the two elements)

- introducing the topic of the song and

vocabulary through a semantic map (cluster)

with the word fight in the middle.

- SS watch the first part of the clip (vision on /

sound off) and decide on the general atmosphere

of the song by choosing A or B in the following

table (SS should justify their choice):

- optimism

- happiness

- glamour

- pessimism

- sadness

- gloominess

- before a complete viewing, SS also guess

through a table what the tune of the song is like:

(K. Bush) + checking answers

- SS read the whole text and answer these

questions: - How many speakers are there? -

Who is who (relationship)? -What position

does every speaker take vis-à-vis life

problems?

- complete viewing (the whole song) +

answer to this question: What is the real

problem in the song?

- freeze-frame at certain pictures for further

detailed description and discussion

- SS rewrite the story in a narrative /

paragraph form.

- slow

- low

- quiet

- quick

- high

- noisy

Vol. 28, N°2, April (USA)

(UK)

songs in class,” Modern English Teacher, Vol.2, N° 3,July, Macmillan

Publishers Ltd. (UK)

(UK)

International Group, (UK)

classroom,” Forum, Vol. 28, N° 4, October (USA)