TEACHING EXPERIENCES-LIFE EXPERIENCES

Role Play

rabia El Antaki — Mon, 02 Feb 2009 18:59:00 GMT

Focusing on role-plays (collected by Yordana Hristozova) I. Theoretical issues: 1. Definition of a role-play Role- playing From Wikipedia: “In role-playing , participants adopt and act out the role of characters , or parts, that may have personalities, motivations, and backgrounds different from their own. Role-playing, also known as RP to some, is like being in an improvisational drama or free-form theater , in which the participants are the actors who are playing parts, and the audience . People use the phrase "role-playing" in at least three distinct ways: to refer to the playing of roles generally such as in a theater, or educational setting; to refer to a wide range of games including computer role-playing games , play-by-mail games and more; or to refer specifically to role-playing games . [1] ” Role (performing arts) From Wikipedia, : The term rôle or role in the performing arts is usually taken to mean an actor 's interpretation of a character written in a script that culminates in a unique performance of that character. So, for example, Shakespeare's character of King Lear remains timeless and unchanging as words on a page, but each new actor coming to the character creates a new role , a new expression of the possibilities in that character. Each actor brings his or her own sensibilities, physicality, emotional history and personality to a character to create a unique role . Consequently, no two roles can ever be the same. This is one of the features of performance that makes it compelling and 'alive'. The term role is usually used of the dramatic arts but roles may be acted, sung or danced . Not to be confused with the term Role-play which is the experimentation of character, and/or situations. http://en.wikipedia.org/wiki/Role-playing Definition of a role /if needed/ Role (wordweb dictionary) – 1. The actions and activities assigned to or required or expected of a person or group "play its role" 2. An actor's portrayal of someone in a play 3. Normal or customary activity of a person in a particular social setting - "you can't do that in a university setting"- 2. Pedagogy and Learning Theory 1. A Role-play Simulation - Transformative Learning in complex dynamic social systems by Kate Fannon, an updated version here [This is a very detailed report of Kate's experience with a role play simulation including lots of extracts from the role play simulation.] http://www.roleplaysim.org/papers/default.asp?Topic=toc8 II. 1. R o l e P l a y S i m u l a t i o n for Teaching and Learning http://www.roleplaysim.org/papers/ 2. Popular role-plays for language learning: http://www.eslflow.com/roleplaysdramatheatregames.html For example: Identity presentations: A fun ID-ea! http://www.geocities.com/EnchantedForest/Fountain/2131/funideaexplan.html III. Additional recourses: Sites for free on line role-plays:/if your students are fans of such things/ Sci-fi http://anarchy-online.com Fantasy: http://www.dungeonrunners.com Fishing Camp: http:// fishingchamp.gamescampus.com Car racing: http://strikeracer.gpotato.com and http://www.conqueronline

Improvisation in the ESL classes

rabia El Antaki — Mon, 02 Feb 2009 18:53:00 GMT

Improvisation is a very creative activity. I have tried it together with acting and it worked enormously. As in Morocco, generally job interviews are a mess, we told and acted out the story of one job interview. I just set the scene for my students and appointed the interviewer. after that students invented characters of interviewees. One was an old lady who spoke languages but was unable to move the mouse of a pc, one was a young beautiful lady who had no qualifications whatsoever except her beauty. Another was a gentlemen who had all the qualifications but was too serious to charm his interviewer (a woman). And guess who got the job: the playboy whose assets were mainly his haircut, postmodern jeans and highly fashionable glasses. All the improvisation and the acting out were done in the funniest atmosphere to the point that I asked students to do it again in front of an audience of teachers and students from inside and outside the school.

Effective uses of Drama in the language classroom: nigel A.Caplan

rabia El Antaki — Mon, 02 Feb 2009 18:44:00 GMT

As I joined an online drama training, I read a very interesting article about the use of drama in the classroom. Although the article is a bit long, it is very important as it refers to very tiny and practical things to apply while implementing drama. I recommend it. Center for Language Education and Research, Michigan State University Chicago Public Schools Workshop / January 28, 2005 Effective uses of drama in the language classroom Nigel A. Caplan Michigan State University English Language Center (caplan@msu.edu) Outline of the Workshop & Description of Activities: “This workshop will demonstrate how drama techniques can be used with language learners of all levels to increase confidence, promote fluency, improve conversational ability and develop pragmatic skills. Participants will experience and discuss warm-up activities, role plays, improvisations and movie-based lessons. The workshop will conclude with a discussion of how to stage existing or original short plays with foreign language students.” Part I – Rationale, Activities and Role-Plays 1. Warm-Ups a) Iconic Introductions (a first-day icebreaker). The teacher does not speak during this activity – the purpose is to show how much communication is non-verbal. Start by drawing a grid of 6 boxes on the board/OHP/flip-chart. In each box, draw a simple icon that represents some aspect of your life, for example: where you were born, where you went to college, an interesting job you’ve had or trip you’ve taken, the number of people in your family, your pets, your hobbies, something you like or dislike, etc. After each drawing, gesture to the class that they should supply a sentence (in the target language!) about your life, for example: “You were born in Chicago …. You love swimming … You can’t sing.” Then, hand out an index card to each student and gesture that they should each draw six icons about their life (they may also need to write their names on the top). They then mingle and use the cards to introduce themselves to partners, remembering that the person who’s being described should not speak (model this first with two students). You can extend this activity by asking students questions about the people they met (this can be a great way to teach or review basic personal information questions and answers). If appropriate, discuss with the class how they were able to communicate without words (and sometimes without artistic ability!) and explain that this was an introduction to drama. A further extension is to have students make new icon cards for a famous person (real or fictitious) and repeat the activity to give students an introduction to building a character. b) 1-2-3-4 . This is a rapid warm up that demonstrates how changes in intonation can change the meaning of everyday phrases. One student says to another “1-2-3-4” (meaning, “hello, how are you?”) and the partner replies “5-6-7-8” (fine, how are you?). Each time, they should try to express a different feeling – for example, a genuinely inquisitive “how ARE you?” (“ 1 – 2- 3 - 4”) could be followed by a sarcastic “fine! how are you?” (“ 5 – 6 -7 – 8”) . If appropriate discuss with students basic intonation patterns in the target language (e.g. in English, statements have falling intonation, yes/no questions have rising intonation, wh- questions have rise-fall intonation). If the class in small enough, this activity can be conducted in a circle: you walk up to a student and give the greeting; that student replies and then approaches a classmate, etc. [Source: thanks to Shelley Reece, University of Pennsylvania English Language Programs for showing me this warm-up.] 2. Rationale for using drama techniques in foreign language teaching a) Linguistic benefits – interaction, communication with purpose, risk taking, pronunciation, pragmatics (intonation, gesture, body language, appropriateness, formality, register, context, speech acts) [cf State Standards 28A/B/D; 29A/B/C] b) Classroom benefits – a break from routine, relaxed but useful, sense of community/cooperation [cf Illinois Leaning Standards: Working on Teams] c) Personal benefits – affective filter, motivation, confidence, all L2 performance is a kind of acting 3. Activities to develop oral fluency d) Schizophrenic Monologue . This is a great variation on the familiar game “Just a Minute” in which the student has to speak for 60 seconds on a topic without hesitation, repetition or digression (try it – it’s not easy!). In this version, students work in small groups. One student is the speaker. The teacher gives a controversial statement (e.g. “TV is bad for kids”) and the speakers must start arguing in favor of this statement. However, when any member of the group claps, the speaker must immediately start arguing against the statement, until there is another clap. This requires considerable linguistic and mental dexterity, but allows for a great deal of language to be produced. After a minute, the students swap roles until everyone has had a chance to be the speaker. This could be an opportunity to teach or review conversational gambits for giving opinion. [Source: thanks to Shelley Reece, University of Pennsylvania English Language Programs for showing me this game.] e) Neutral Statements . Drama is conflict, but conflict can be created out of almost any situation. In this activity, students work in pairs and have to argue over a neutral statement, for example “The telephone is broken.” One student argues this is a good thing, the other that it is bad. Here are some other neutral statements: “Bob failed his driving test,” “Our math teacher is moving to Alaska,” “There’s no food in the refrigerator,” “Today is the first day of spring.” Print the statements on slips of paper so that you can mix the pairs and statements every few minutes. This game is very good for expressing opinion and disagreement, and also for small talk and maintaining a conversation. [Source: Alexis Finger, The Magic of Drama .] f) Absurd Interruptions : one of my favorites. On slips on paper write short instructions, such as “sing a song,” “see a ghost,” “laugh,” “apologize,” “say I love you .” Divide students into pairs and give them a situation (for example, standing in line at a supermarket). They should begin a normal conversation, but periodically each student should pick up one of the slips of paper and immediately follow the instruction. The other student must react appropriately to the interruption. This activity is great for preparing students for the unpredictability of conversation, and because the interruptions are unexpected, it requires quick thinking and a focus on fluency and communication rather than accuracy. [Source: adapted from the British television program Whose Line is it Anyway? ] g) The Hotel Receptionist . This is a wonderful class activity which provides safety in numbers for shy students. A volunteer stands in front of the class – this is a guest at the hotel, and the rest of the class will be the hotel receptionist. The guest has a complaint (written on a card that you give the guest) but cannot only use mime to communication, while the receptionists guess the problem – by questioning - in the target language. The round ends when the class have successfully reconstructed the entire message exactly. Here are some of my favorite complaints: “I don’t like the painting of three ducks in my room; could you change it please?” “Come quick! There’s a UFO landing in the parking lot!” “I want to change rooms because every night a ghost comes into my room and starts singing opera arias.” “There’s a crocodile in my bath tub.” “What time do you finish work? Can I buy you a drink in the bar?” [Source: Maley & Duff, Drama Techniques in Language Learning ] 4. Problems with drama techniques : shyness/stage-fright (create supportive atmosphere, practice); getting out of control (establish ground rules); cultural or interpersonal clashes, or touchy subjects (use as a prompt for discussion – or try to avoid!). 5. Role Play : “Role-play is generally used to simulate the feel of a real-life situation in a classroom. Typically, in role-play, students are given a purpose, a situation, a setting, a goal (or goals), and a few directions.” (Burke & O’Sullivan). a) Some considerations: i) Role-plays appear in many textbooks, but often give insufficient information. For example, ordering a meal in a restaurant. In drama, as in real life, we need to know more about the people and the context (the sociolinguistic variables ); for example: “You are at a restaurant ordering lunch, but you’re in a rush because you have a meeting. The waiter is new, but desperately needs to keep this job; however s/he makes many mistakes” (etc, etc). ii) Speak first, write later. If students are allowed to script their dialogues, they will read them out verbatim and you will have created a writing activity, not a speaking one. If the situations are well chosen, the students should have enough language to complete the role-play. It is, however, a good idea to give groups time to plan their dialogue and even make notes, although I don’t let them use notes in the performance. iii) Stage confidence: Role-plays that involve 3 or 4 people may give students more security at first – when there are only two actors, there is more pressure to speak. Think about how to sequence role-plays, starting with short, simple situations in larger groups, and working towards duologue or even monologue. iv) Video-Taping: Although students tend to complain at first, video-taping role-plays and (later) sketches, provides a valuable resource. You can watch the scenes back together and conduct self/peer/teacher evaluation, and also draw out dramatic, pragmatic and linguistic lessons from the video. Another technique I have used is to keep a VHS tape of all the role-plays and improvisations for the whole semester, without showing them all in class. I then have students go to the self-access language center and watch their own performances and evaluate their progress – this is often revelatory! b) Role-play scenarios . Here are some tried and tested situations for groups of 2-5 students. [Sources unknown or original] i) You are a family in a hurry to pack and leave for a vacation. PARENT(S) : You know you have to leave soon and you are nearly ready. KID(S) : You keep remembering things you want to bring with, and find reasons to delay your departure. ii) In a park. One or two kids are playing. An elderly person is sitting on a bench. KID(S) : You decide to make friends with him/her. ELDERLY PERSON: You are in a bad mood, and you don’t want to talk to these kids. iii) In the kitchen of a fancy restaurant. CHEF(S) : You have lied about your cooking skills and are pretending to be chefs. HEAD CHEF : You are in charge of the kitchen, and you are responsible for the new chefs. iv) You are astronauts preparing for a very long journey to Mars. You are deciding how to decorate your spaceship. ASTRONAUT 1 : You want a very classical design. ASTRONAUT 2 : You want a very modern design. ASTRONAUT 3 : You want to decorate the ship in the colors of your favorite sports team. v) At the customer service counter of a store. CUSTOMER : You are trying to return a defective (faulty, broken) product for a refund. SALESPERSON : You refuse to believe there is anything wrong with the item. You won’t give a refund. vi) You are a group of friends on a camping trip in the woods. It is night. You have been listening to the radio and heard that some convicts (prisoners) have escaped from a local prison. CAMPER 1 : You are afraid that the prisoners will attack you. CAMPER 2 : You aren’t afraid at all and love camping. CAMPER 3 : You aren’t afraid of the convicts, but you hate camping and want to get back to the city as soon as you can. vii) You are in an elevator that gets stuck. One of you is very afraid of closed-in spaces. Another is going to be late for a very important meeting and is getting very angry. One of you is convinced you can fix the elevator. (You can add more characters – heavily pregnant women appear quite often!) viii) You are at a gas station. ESCAPED PRISONERS: You need to stop for gas, but you are obviously in a hurry to get out of town before you are recognized and caught. ATTENDANT: You are very old and slow and really just want to have a conversation with the people in the car. ix) In the living room. FAMILY: You are having your TV repaired. You have never met the repairperson before. REPAIRPERSON: You decide that you like the house, the TV and the family so much that you just want to live there with them. [Adapted from Maley & Duff, Drama Techniques for Language Learning. ] For more ideas, please see Appendix A: The Ultimate Guide to Role-Play Situations. c) Decision Drama . This is a good alternative to traditional role plays. Choose one or more volunteers and give them a dilemma, for example, you want to pursue your undergraduate studies in a foreign country. The rest of the class stands in a circle around the actor, and they each take a role such as parents, friends, teachers, etc. In turn they must give their advice to the student with the dilemma, if necessary (and if possible) arguing amongst themselves. Then, the student leaves the room to make a decision and the class votes on how they think s/he will swing. The activity ends with a discussion of the decision taken. This activity ensures equal participation (you can always call on students: “So, dad, what do you think your son should do?”) and can connect to your textbook themes and topics easily. I’ve also done this with dilemmas from plays, for instance by having 2 volunteers plays Romeo and Juliet (the class gave some very interesting advice!). [Source: B. Radin, Decision Drama ] d) Strategic Interaction . Here is another variation on role play which is popular in language classrooms. Divide the class into two groups, and assign each group one character in a role play (for example: husband comes home late, very drunk). Each character has an objective (the husband to get to bed without answering any questions, the wife to get him to sleep on the sofa after a satisfactory explanation and apology). The groups should start by brainstorming (in the TL) strategies for their character in the interaction in order to achieve their goals. Then, each group selects a volunteer to role-play the situation. However, at any time, you, the actors or any group member can call “time-out,” in which case the actors go back to the group to discuss what to do next – in other words, this is way of “pausing” or even “rewinding” a live interaction. At the end, the class discusses who “won” the interaction. I like to conclude by pairing all the students off with a member of the other group and have everyone role-play the situation (you can also have them reverse roles!). The advantage of this activity is that it allows you to discuss why conversations break down, and how to avoid it. [Source: DiPietro, Strategic Interactions. ] e) Interpreting a dialogue . This is a quick activity which appears in many drama handbooks. Write on the board a simple, ambiguous dialogue, such as the following: A: It’s been such a long time since we’ve seen each other. B: I know. Time really does fly. A: So much has changed since that day. B: I know just what you mean. A: Do you remember the last thing we said to each other? B: It’s hard to forget. In fact, I don’t think I’ll ever forget. Working in pairs, students decide who the characters are, where they are, and what they want. They then practice the dialogue with appropriate tone, pauses and emotions, and perform for the class, who must guess what the context was. [Source: Alexis Finger, The Magic of Drama ] 6. Activities to Develop Pragmatic Competence Pragmatics is the study of how people do things in and with language, both verbal and non-verbal, including intonation, gesture, body language, appropriateness, formality, register, context, and speech acts. Pragmatics are given little space in language textbooks, but they are important for communicative competence (“the competence as to when to speak, when not, and so what to talk about with whom, when, where, in what manner” Dell Hymes; reprised in the National and Illinois Standards for FL Learning: “ knowing how, when, and why to say what to whom ”). Why is pragmatic instruction important? “While a speaker who is not operating according to the standard grammatical code is at worse condemned as ‘speaking badly’, the person who operates according to differently formulated pragmatic principles may well be censured as behaving badly; as being an untruthful, deceitful, or insincere person” (Jenny Thomas, British sociolinguist). a) Focusing on speech acts : The Apology. There are many ways of apologizing in English: direct statement (“I’m sorry”), taking responsibility (“that was my fault”), explaining (“the traffic was terrible”), offering to repair (“I’ll pay for the dry cleaning”), promise (“it won’t happen again”), etc. These may or not be the same in the TL, so start by having students brainstorm ways of apologizing in their native language, then explicitly teach strategies for the TL. To practice, have students bring in a letter of apology (they can choose the situation and motivation). Students read their letters to each other. Then, in pairs, they make the same apology by telephone. Elicit the differences between the two channels of communication. Finally, they apologize face-to-face, and again discuss how the three apologies were different. You can also discuss which strategies work best for different channels. This activity also draws attention to the way language changes with context and modality. [Source: activity adapted from Alexis Finger’s The Magic of Drama ; apologies strategies from the sociolinguistic literature – see Appendix B] b) The Dictophone . This is an advanced activity, adapted from Ruth Wajnryb’s “dictogloss” (or grammar dictation). For the dictophone, choose an appropriate movie clips that contains a lot of pragmatic features (our example is Edward Albee’s Who’s Afraid of Virginia Woolf? ). Give students the script (Appendix C), deleting all acting instructions (stage directions, pauses, emotions, etc.). Play the scene twice, and have students write in as many acting instructions as they can. Then in groups, students attempt to replicate the scene as accurately as possible. This works best as a review activity, and although it’s difficult, it does draw attention to intonation, pauses, stress and emphasis. [Source: original, suggested by Kristine Billmyer, University of Pennsylvania Graduate School of Education] 7. Top Ten Principles of Effective Drama Teaching: Model everything Expect all students to participate but don’t force them – start with volunteers Try to participate yourself where possible Perform first, write later Move the desks and create a performance space Start drama activities by standing in a circle Always use warm-ups at the start of class Don’t correct grammar if it’s not the focus of the activity – encourage risk-taking and “mistakes” Give students time to practice the activity, but keep the pace of the class fast Have back-up activities (fillers) in reserve, just in case! Part II – Towards Performance 8. More Warm-Ups a) Jazz Chants (by Carolyn Graham). As far as I know, no-one has published Jazz Chants in other languages (but there’s an idea!). However, if you have a musical streak, you may be able to create them yourself by taking simple chunks of language and putting them to a beat. Stress-timed languages like English and German will fit Graham’s 4-beat rhythm more easily than syllable-timed languages like French, for which you might need a different beat. Once students have practice Jazz Chants, a fun activity is to give them the text of a new chant and have them find the rhythm and perform it. This generates useful discussion of stress and pronunciation. b) One Phrase, Many Ways . Students stand in a circle and choose a common phrase (e.g. How are you?). Everyone has to say the same phrase with different intonation in order to change the meaning. c) Mirroring . This is a classic theatre warm-up, which involves no language but a lot of concentration. Stand opposite a partner. One of you will be the actor, the other the mirror. Everything the actor does must be reflected in real time in the mirror. Change roles after a couple of minutes. You can also specify daily activities to perform in the mirror, such as brushing you teeth. For really focused groups, the third stage is to have no leader – if the pair are really cooperating well, they will be able to continue mirroring, without anyone knowing who is the leader and who is the mirror. [Thanks to Dominique Delvallee in Valenciennes, France for showing me this variation] d) Dominating/Dominated . Divide the room into two zones: one is marked “dominated”, the other “dominating”. When an actor is in the “dominating” zone, he must act in a superior, confident manner (shown in posture, eye contact, gesture and language). However, in the “dominated” zone, he must be subservient. Students can practice moving around the room, between the two zones. Then, have students form two lines – one in each zone - facing each other. Have students choose a family relationship and have an argument. However, periodically they should switch positions without changing character, then changing from dominant to dominated, and vice versa. This is a difficult exercise, but quite feasible with simple language because of the familiarity of the situation (sibling arguments work well!). Status plays an important role in drama – actors always need to know the social standing of their character in relation to others on the stage. 9. Improvisation Improvisation means performing a sketch in character after a short period of planning (acting without any preparation time is called extempore and is less useful in language learning). As always, students can make notes in preparation, but should not write scripts. a) A Recipe for Drama . Alexis Finger reduces drama to three principle ingredients: characters, setting and conflict. You can have students analyze a popular TV, stage or film drama in these terms ( Titanic is about a rich engaged girl and poor but unnaturally-well-groomed boy on a big boat in 1912, who fall in love and end up in the North Atlantic). To practice, give students several slips of paper, and have them write 2 or 3 characters, a setting and a conflict on separate slips. Collect them in three piles. Form groups of 3-4 students (larger groups are possible, but I’ve found 4 is optimal) and have one member from each group select one situation, one conflict and enough characters for all the actors. The groups then have to improvise a scene using all the slips (or as many as possible). I usually allow about 15-20 minutes for planning, but I don’t let students sit and talk the whole time – after a while, I make them get up and try out their scene. [Source: adapted in part from Alexis Finger, The Magic of Drama. ] b) The Structure of Drama . At some point in your improvisations, you should remind students that most dramas have a basic three part structure: exposition (beginning), complication (middle), resolution (end). If your sketches are too short, too long or apparently interminable, have groups plan their sketches using this structure, and have the audience note down what happens at each stage. c) Act Three . You’ll need a selection of random props (objects) for this improv. Give each group a few objects (e.g. a rope, an empty whiskey bottle and a credit card) and tell them that they are going to perform the third and final act of a play; the props were all used in acts 1 or 2. They should decide the genre of the play, the characters and the conflict, and a improvise a sketch of part of the last act (for example, the climax or resolution). They may introduce the scene by describing what has already happened in their play. [Source: Maley & Duff, Drama Techniques in Language Learning. ] 10. Let’s Put on a Play! The difference between drama and theatre is that theatre requires an audience. It’s not necessary to perform in front of an audience to do drama, but it can be a rich and engaging project for a language class. It’s also much easier than you probably think! Ann Burke and Julie O’Sullivan’s Stage by Stage contains a wealth of advice on this topic, and is highly recommended. a) Why do it? i) Learning a dialogue expands students’ range of expression ii) Rehearsing a play provides intensive focus on language and pronunciation iii) Performing a play gives a real need for clear, effective communication iv) Entertaining an audience is an experience your students will never forget b) Original Scripts : Although it is always an option to perform a published play, there are many advantages to having students write their own scripts: it’s a valuable writing assignment, the students are more invested in their plays, there will be less adaptation necessary as the plays will be written with the actors and facilities in mind, and finally the play will be more accessible to a non-native speaking audience. Here is a suggested procedure: i) Working in small groups, students brainstorm ideas for plots. I give them options, such as a modernized fairy/folk tale ( Cinderella is always the most popular choice!), expanding a class improvisation, a play about their school, adapting or parodying a famous story/book/movie ( Titanic , Romeo and Juliet and Frankenstein have been great starting points). Remind your students that the play must be original: they cannot just reproduce their favorite movie! The group writes a one-page plot summary, describing roughly what’s going to happen. ii) After revising their plot using the teacher’s feedback, groups finalize the characters and the plot, writing out a “storyboard” of the action from start to finish. They divide this storyboard into sections or scenes, and each student writes the script for one section or scene. iii) The scripts are collated and shared, the group edits the complete script and the teacher offers linguistic and dramatic feedback. The script is revised until it is in a performable state, but may be altered during the rehearsal process. iv) Students rehearse their plays in and out of class, with help from the teacher on pronunciation and intonation (etc). They collect or make props, costume and set. Be sure to hold one or more dress rehearsals in class so that you can “direct” them (and check they have correctly memorized their lines). v) Opening night! Plays can be performed at a talent show, for parents, or just in front of another class. Video tape the performance so that the actors can review and evaluate their performance. vi) Evaluation. This will depend on the objectives and standards of your course, but evaluation criteria could include the script, the performance, teamwork and overall effort. c) A word about movies : If you have access to a digital video camera and Apple’s iMovie or Microsoft’s Movie Maker software, then your students can make movies instead of stageplays. The process is similar, except you need to include a discussion of types of shot, and the movies need to be filmed on location. Groups will need a detailed storyboard and/or shot-list before they film, and even the computer literate need ample time for editing. Personally, I find that students put more effort into the language when they have to perform live on stage, and the editing process requires less interaction in the target language than rehearsing a stage play. 11. Your Turn: “The Seven Ages of Man”! To demonstrate how easy it is to stage a fun performance quickly, you are going to put today’s techniques into practice. You will be divided into 7 groups, and each group will be responsible for improvising 2-3 minute skit representing your “age.” You can interpret your chunk of text in any way you like. The only rules are that all group members must speak. Procedure: 1. Brainstorm 2. outline 3. improvise 4. revise 5. practice 6. perform! JACQUES: All the world's a stage, And all the men and women merely players; They have their exits and their entrances; And one man in his time plays many parts, His acts being seven ages. At first the infant, GROUP ONE [infant] Mewling and puking in the nurse's arms; Then the whining school-boy, with his satchel GROUP TWO [schoolboy] And shining morning face, creeping like snail Unwillingly to school. And then the lover, GROUP THREE [teenager] Sighing like furnace, with a woeful ballad Made to his mistress' eyebrow. Then a soldier, GROUP FOUR [young adult] Full of strange oaths, and bearded like the pard*, * leopard (probably) Jealous in honour, sudden and quick in quarrel, Seeking the bubble reputation Even in the cannon's mouth. And then the justice, GROUP FIVE [middle age] In fair round belly with good capon* lined, * chicken With eyes severe and beard of formal cut, Full of wise saws* and modern instances; * sayings, proverbs And so he plays his part. The sixth age shifts GROUP SIX [retirement] Into the lean and slippered pantaloon*, * old man (from It. pantalone ) With spectacles on nose and pouch on side; His youthful hose, well saved, a world too wide For his shrunk shank; and his big manly voice, Turning again toward childish treble, pipes And whistles in his sound. Last scene of all, GROUP SEVEN [old age] That ends this strange eventful history, Is second childishness and mere oblivion; Sans teeth, sans eyes, sans taste, sans everything. (As You Like It, II.vii) For More Ideas … TESOL-Drama is a community within the Teachers of English to Speakers of Other Languages (TESOL) organization which discusses the use of drama techniques in second/foreign language teaching. From role plays to improvisation games to full-scale productions, language teachers throughout the world have long recognized the value of drama in all its forms. TESOL-Drama provides a forum for discussing best practice in language through drama, sharing classroom activities, and exploring the theoretical underpinnings of our work. Membership is limited to TESOL members, who can join by sending a blank email to join-egroup-drama@lists.tesol.org Non-members of TESOL are invited to participate in our free online workshop, “Effective uses of drama in language teaching”. It has already started, but you can still join by visiting www.yahoogroups.com/evo_drama_2005 and clicking JOIN. Bibliography Drama Handbooks and Textbooks referred to in this workshop Burke, Ann & Julie O’Sullivan. (2002). Stage by Stage: A Handbook for Using Drama in the Second Language Classroom. Heinemann. [An excellent collection of fluency activities along with a detailed description of how to stage published and original plays. Written by two college ESL teachers, but with strong application to foreign language teaching.] DiPietro, R. Strategic Interactions . (1987). Cambridge: Cambridge UP. [An innovative role-playing technique in which students can reflect on the progress of an interaction.] Gerard Finger, Alexis. (2000). The Magic of Drama: An Oral Performance Activity Book. Full Blast Productions. [Now available from Alta Books; a very comprehensive guide for inexperienced drama teachers.] Graham, Carolyn. Jazz Chants . NY: Oxford University Press (several volumes available) Maley, Alan & Alan Duff. (1982). Drama Techniques in Language Learning . 2 nd ed. Cambridge: Cambridge UP. [The bible of language through drama teachers. Very extensive collection of activities.] Radin, B. Decision Drama : Real Language For Real Life . J.A.G. Publishers, 1992. Websites * (*with absolutely no guarantee of quality or accuracy!) TESOL-Drama www.msu.edu/~caplan/drama Effective Techniques for Teaching English Through Drama (JOIN the group and go to LINKS or FILES) http://groups.yahoo.com/group/EVO_drama_2005/ The above sites provide more detailed lists of drama websites Warm-Ups http://www.learnimprov.com/warmups.html Creative Drama and Theater Education Resource Guide http://creativedrama.com Creating Drama with Poetry http://www.ericfacility.net/ericdigests/ed368214.html A Guide to the Theory of Drama http://www.uni-koeln.de/%7Eame02/pppd.htm The Improv Encyclopedia http://www.humanpingpongball.com/ Expanded Bibliography [1] Books of drama games and activities: Boal, A., & Jackson, A. (trans.) (1992). Games for actors and non-actors . Routledge. Graham, C. (1991). Rhythm and role play. Studio City, CA: Jag. Ladousse, G. (1987). Role Play . Oxford: Oxford University Press. Rinvolucri, M. (1984 ). Grammar games: Cognitive, affective and drama activities for EFL students. Cambridge: Cambridge University Press. Spolin, V. (1999, 3 rd ed.). Improvisation for the theater. Evanston, IL: Northwestern University Press. Whiteson, V. (Ed.) (1996). New ways of using drama and literature in language teaching. Blooomington, IL: TESOL. Wright, A, Betteridge, D., & Buckby, M. (1984). Games for language learning. New edition. Cambridge: Cambridge University Press. Research/information on using drama in language classrooms—why, how, etc: Axtmann, A. (2002). Transcultural performance in classroom learning. In G. Brauer (Ed.), Body and language: Intercultural learning through drama (pp. 37-50). Westport, CT: Ablex. Berry, K. (2000). Dramatic arts and cultural studies: Acting against the grain. New York: Falmer Press. Brauer, G. (Ed.). (2002). Body and language: Intercultural learning through theater and writing. Ablex. Byram, M., & Fleming, M. (Eds.). (1998) Language learning in intercultural perspective: Approaches through drama and ethnography. Cambridge: Cambridge University Press. Davies, P. (1990). The use of drama in English language teaching. TESL Canada Journal, 8 (1), 87-99. Dickson, P.S. (1989). Acting French: Drama techniques in the second language classroom. The French Review, 63(2 ), 300-11. Kao, S.M., & O’Neill, C. (1998). Words into worlds: Learning a second language through process drama. Stamford, CT: Ablex Publishing Company. Miccoli, L. (2003). English through drama for oral skills development. ELT Journal, 57(2), 122-129. Rodriguez, Raymond & Robert White. "From Role Play to the Real World." In J. Oller (Ed.), Methods that work: Ideas for literacy and language teachers (2nd ed.). Boston: Heinle and Heinle. Rivers, W. M. (Ed.). (1987). Interactive language teaching. Cambridge University Press, Cambridge. Smith, S. (1984). The theatre arts and the teaching of languages. New York: Addison-Wesley. Stern, S. (1980). Drama in second language learning from a psycholinguistic perspective. Language Learning, 30 (1), 77-97. Vitz, K. (1983). A review of empirical research in drama and language. Children's Theatre Review , 32(4), 17-25. Wagner, B.J. (Ed.). Educational drama and language arts: What research shows . Portsmouth, NH: Heinemann. Wagner, B. J. (2002). Understanding drama-based education. In G. Brauer (Ed.), Body and language: Intercultural learning through drama (pp. 3-18). Westport, CT: Ablex Publishing. Wessels, C. (1987). Drama . Oxford: Oxford University Press. Worthman, C. (2002). "Just playing the part": Engaging adolescents in drama and literacy . New York: Teachers College Press. About the presenter: Nigel A. Caplan teaches English as a Second Language at Michigan State University. He holds degrees in TESOL from the University of Pennsylvania, and Modern Languages from Cambridge University. He has given several workshops on language through drama at regional and international TESOL conferences. [1] This bibliography was compiled from suggestions by Sarah Dodson, a French instructor at Colorado State University, and other members of TESOL-Drama. It is also available at www.msu.edu/~caplan/drama

Drama activities for ESL classes

rabia El Antaki — Wed, 21 Jan 2009 11:24:00 GMT

One of the games that work perfectly well in my classes is the "mirror exercise". One student performs an action, and another is in front of him or her and tries as hard as possible to do the same thing. This kind of exercise should be theme based; if we are working on food , students should for example, perform actions of eating, of preparing a meal, of going on a diet. Students enjoy a lot such a game and it serves the objective of the lesson. Another game that I do with my students is as old as humanity: miming. This game works a lot especially when verifying students' vocabulary retention. After having finished studying a set of vocabulary items, students are split into group. Each group have to do some mimes, the other groups should of course, guess the word mimed. The group which scores more is the winner.

CULTURAL ASPECTS OF MOROCCO: ARCHITECTURE

rabia El Antaki — Fri, 02 Jan 2009 21:14:00 GMT

• WHAT IS SO SPECIFIC ABOUT MOROCCAN ARCHITECTURE? • Morocco is a country shaded with a variety of colors yet cloaked with the blanket of mystery. • Today Morocco proudly upholds its past glories, its traditions and the culture of Morocco, which is reflected in the ancient monuments and structural designs of Morocco. The architecture of Morocco consists of more or less: • the Islamic style of construction. • However the designs show signs of being profoundly influenced by Spanish styles of the mid centuries. • The Berber as well as the African style are also recurrent. • ASPECTS OF MOROCCAN ARCHITECTURE • Some of the typical features of Morocco Architecture are: - Huge U- shaped arches and lovely domes - Large courtyards, adorned with charming gardens. - Use of geometrical patterns. - Use of bright color schemes - Use of ornamental Islamic calligraphy and fewer pictures. - ornamentation of the exterior of the buildings. • WHERE THIS SPECIFIC ARCHITECTURE IS MOST APPARENT • These features are used in • -Doors and gates • -ceilings • -Mosaic/zellige • -Domes • -Fountains • ARCHITECTURAL BUILDINGS • Mosques • Riads • Houses • Musauleaums • WHEN DOORS EXPRESS IDEAS: • MOROCCAN ARCHITECTURE • BY/ RABIA EL ANTAKI • MOROCCAN ARCHITECTURE • WHAT IS SO SPECIFIC ABOUT MOROCCAN ARCHITECTURE? • Morocco is a country shaded with a variety of colors yet cloaked with the blanket of mystery. • Today Morocco proudly upholds its past glories, its traditions and the culture of Morocco, which is reflected in the ancient monuments and structural designs of Morocco. The architecture of Morocco consists of more or less: • the Islamic style of construction. • However the designs show signs of being profoundly influenced by Spanish styles of the mid centuries. • The Berber as well as the African style are also recurrent. • ASPECTS OF MOROCCAN ARCHITECTURE • Some of the typical features of Morocco Architecture are: - Huge U- shaped arches and lovely domes - Large courtyards, adorned with charming gardens. - Use of geometrical patterns. - Use of bright color schemes - Use of ornamental Islamic calligraphy and fewer pictures. - ornamentation of the exterior of the buildings. • WHERE THIS SPECIFIC ARCHITECTURE IS MOST APPARENT • These features are used in • -Doors and gates • -ceilings • -Mosaic/zellige • -Domes • -Fountains • ARCHITECTURAL BUILDINGS • Mosques • Riads • Houses • Musauleaums • WHEN DOORS EXPRESS IDEAS • THE ARCH FORM IS PREDOMINANT • This shape finds its origin in the importance of the circle in Islam. • The continuity of life even after death is most probably depicted also in art forms • THE DOORS ARE MADE MOSTLY OUT OF CARVED WOOD: in the past there were most of the times two doors, one small in one bigger. • MOROCCAN ARCHITECTURE • BY/ RABIA EL ANTAKI • MOROCCAN ARCHITECTURE • WHAT IS SO SPECIFIC ABOUT MOROCCAN ARCHITECTURE? • Morocco is a country shaded with a variety of colors yet cloaked with the blanket of mystery. • Today Morocco proudly upholds its past glories, its traditions and the culture of Morocco, which is reflected in the ancient monuments and structural designs of Morocco. The architecture of Morocco consists of more or less: • the Islamic style of construction. • However the designs show signs of being profoundly influenced by Spanish styles of the mid centuries. • The Berber as well as the African style are also recurrent. • ASPECTS OF MOROCCAN ARCHITECTURE • Some of the typical features of Morocco Architecture are: - Huge U- shaped arches and lovely domes - Large courtyards, adorned with charming gardens. - Use of geometrical patterns. - Use of bright color schemes - Use of ornamental Islamic calligraphy and fewer pictures. - ornamentation of the exterior of the buildings. • WHERE THIS SPECIFIC ARCHITECTURE IS MOST APPARENT • These features are used in • -Doors and gates • -ceilings • -Mosaic/zellige • -Domes • -Fountains • ARCHITECTURAL BUILDINGS • Mosques • Riads • Houses • Musauleaums • WHEN DOORS EXPRESS IDEAS • THE ARCH FORM IS PREDOMINANT • This shape finds its origin in the importance of the circle in Islam. • The continuity of life even after death is most probably depicted also in art forms • THE DOORS ARE MADE MOSTLY OUT OF CARVED WOOD • The carving is an industrious work that is transmitted from generation to generation • It takes months and years to perform such designs • THE MOTIFS AND THE COLORS ARE GEOMETRICALLY IDENTICAL • DOUBLE DOORS • The historical significance of the double doors lies in the fact that when guests pay a visit to a family they bind to go in the house as a sign of respect. • THE GEOMETRIC FORMS ATTEST OF GREAT PATIENCE AND TALENT OF CRAFTSMEN • THE DOOR KNOCKERS ARE ALSO A PREDOMINANT FEATURE OF OLD DOORS • A DOOR KNOCKER UNDER THE FORM OF THE HAND OF FATIMA • Of course to ward off the evil eye • IMPERIAL CITIES HAVE GATES THAT USED TO CLOSE AT SUNSET AND OPEN AT SUNRISE • WINDOWS IN THE PAST • Some windows were covered with “mucharabi”, to allow women to have a look at the street without being seen. • “Mucharabi” today is used only as an architectural design • A LOT OF WINDOWS ARE SHAPED LIKE DOORS • MOROCCAN CEILINGS • Are very high • Very colorful • And ask for a lot of work • THE HIGHTS • THE DESIGNS ARE MINUTELY GEOMETRIC AND COLORFUL • THE PAINTINGS, CARVINGS AND WRITINGS ON THE CEILINGS CAN TAKE YEARS • THE DESIGNS ON THE CEILINGS CAN ALSO BE DONE ON PLASTER • THE ZELLIGE/MOZAIC • Patrons of the art used Zellige historically to decorate their homes as a statement of luxury and the sophistication of the inhabitants. • Zellige is typically comprised of a series of patterns utilizing colorful geometric shapes. • This framework of expression arose from the need of Islamic artists to create spatial decorations that avoided depictions of living things, consistent with the teachings of Islamic law. • INFLUENCES ON THE ART OF ZELLIGE • It is believed that the art of Zellige flourished at the Hispano-Moresque period (Azulejo). • It then appeared in Morocco in the 10th century using nuances of white and brown colors. • ZELLIGE CRAFTSMANSHIP • Zellige making is considered an art in itself. The art is transmitted from generation to generation by maâlems (master craftsmen). A long training starts at childhood in order to master exceptional skills. • Assiduous attention to detail is very important in the process of creating Zellige works. The small shaped (cut according to a precise radius gauge), painted and enamel covered squares are then assembled together in a geometrical structure as in puzzle to form the final single piece. • The process has not varied for one millennium though conception and design has started using new technologies such as data processing • ZELLIGE IS USED ON THE FLOORS, WALLS, FOUNTAINS AND PILLARS • A TOUCH OF BEAUTY: CALLIGRAPHY • As Muslims could not use human or animal painting, they use calligraphy as an art to adorn ceilings and walls of buildings • MOROCCAN BERBER ARCHITECTURE THE KASBAH • It was the place for the local leader to live and as a defense when the city was under attack. A kasbah has high walls which usually have no windows. Sometimes, they were built on the top of hill to make them easier to defend. Some of them were also placed near the entrance of harbors. • MOROCCAN BERBER ARCHITECTURE THE KASBAH • Sometimes, they were built on the top of hill to make them easier to defend. Some of them were also placed near the entrance of harbors.

CULTURAL ASPECTS OF MOROCCO: MARRIAGE

rabia El Antaki — Thu, 01 Jan 2009 19:23:00 GMT

• MARRIAGE IS AN IMPORTANT INSTITUTION IN MOROCCO • THERE ARE TWO KINDS OF MARRIAGES • PREARRANGED MARRIAGES • The family chooses the bride • -The future groom meets the bride • -If he likes her and vice versa, they get married • -If he does not, he will refuse to complete the marriage • -If she does not like him, most of the times, the marriage won’t take place. But,in very rare cases,she is forced by her parents. Most of the marriages are however no longer pre-arranged • The Boy and girl meet each other: in a café, movies, college… • -They fall in love • -They go on dates • - The girl tells her parents about the boy • -The families of the bride and groom meet. • -And the marriage takes place THE WEDDING: A TWO DAY PARTY • A PREWEDDING PARTY : The henna party • -The bride puts some henna paintings on her hands and feet • -In some regions in Morocco, the bride wears make up and wears very beautiful traditional clothes. • In some other regions, she wears a kind of ornate silk sheet all over her body. • The bride, her close family and friends gather to have the paintings,dance and have fun THE WEDDDING PARTY • THE BRIDE IS THE MOST IMPORTANT PERSON • She wears 3 to 7 different caftans (traditional Moroccan dresses) depending on regions • SHE WEARS DIFFERENT KINDS OF JEWELRY EACH TIME SHE WEARS A NEW CAFTAN • She sits on what is called « al ammaria »A KIND OF TABLE and is LIFTED up like a princess • THE BRIDE ENJOYS ENORMOUSLY THIS SPECIAL DAY. SHE IS THE CENTER OF INTEREST. • THE WOMEN WHO LIFT THE BRIDE ARE HIRED. AS THEY LIFT HER THEY PERFORM SOME DANCING. • THE BRIDE THROWS ROSE PETALS ON GUESTS/ A SIGN OF WELCOMING • The groom also wears Moroccan traditional clothes FACTS ABOUT A MOROCCAN WEDDING • THE WHITE COLOR IS VERY IMPORTANT • THE WEDDING PARTY IS ALSO A SHOW • THE GROOM KISSES THE BRIDE ON THE FOREHEAD AS MOROCCANS STAY RESEVED IN SUCH CEREMONIES. • THE GUESTS ALSO WEAR THE BEST CLOTHES AND JOIN IN THE SINGING AND DANCING. • AT THE END,THE COUPLE WEAR EUROPEAN CLOTHES • AND THEY GO TO A HOTEL OR TO THEIR NEWLY FURNISHED HOUSE • THE KING (Mohammed VI) BROKE UP WITH CENTURIES OF TRADITIONS AND SHOWED HIS WIFE TO THE WORLD • THE FAMILY IS PART AND PARCEL OF ALL MOROCCAN CEREMONIES

CULTURAL ASPECTS OF MOROCCO: MUSIC

rabia El Antaki — Wed, 31 Dec 2008 20:37:00 GMT

MOROCCAN MUSIC • THE IMPORTANCE OF MUSIC IN MOROCCO • The most important single element of Morocco's folk culture is its music ... the entire history and mythology of the people is clothed in song. - Paul Bowles Moroccan music: • -uses some exclusive instruments • -has been subject to many influences • -includes many genres MUSICAL INSTRUMENTS • KAMANJA: is a kind of violon. It is used in most musical genres • THE QANOUN: used in Andalusian and Arab music • THE REBAB: made from wood and covered by the a goat’s skin • AOUD: is traditionally used in andalusian music. It contains 6 chords • THE NIRA: a flute containing 6 holes. It is mostly used in the high atlas by Bebers • THE QARAQEBS: castanets: used in Gnaoua music. They are made of metal • THE GUENBRI: a kind of wooden guitar coated by the skin of a sheep. It uses 2 or 3 chords. • THERE ARE A LOT OF KINDS OF DRUMS • Bendir • DRUMS • Darbouka • The Taarija MUSICAL GENRES THERE ARE many genres of Moroccan music . Arab • Berber • African • Popular • Jewish • Modern Musicians perform in concerts, in cafes, at private homes, ceremonies, marriages, funerals, and religious processions. It is also used to accompany dancing and storytelling. THE AISSAWA • THE AISSAWA , founded in the 15th century. • It is the best known of the Sufi brotherhoods of Morocco. • The instruments used are : Moroccan drums (percussion instruments), r aita ( small pipes) and n'far (large one-note trumpets). ANDALUSIAN MUSIC • ANDALUSIAN music traces its origins to Ziriab. • Arab-Andalusian music, a unique art form, the love and knowledge of which are transmitted entirely by oral tradition, is not played in Morocco in concert halls, but is performed at festivities, often at family gatherings, where the traditional songs are sung. In this living creation, moving like the sands of the desert, the musician is guided by a master or by the musical community . MELHUN MUSIC • Malhun is a kind of urban, sung poetry that comes from the south of Morocco. BERBER MUSIC • The ancient Berber culture is extraordinarily rich and diverse, with a variety of musical styles. • These traditions have been kept alive by small bands of musicians who travel from village to village, as they have for centuries, to entertain at weddings and other social occasions with their songs, tales, and poetry. THE GNAWA MUSIC: THE FIRE WITHIN • The Gnawa people originally came from the Guinea Empire (today Senegal, Guinea, Mali). During the 16th century, they were deported to North Africa as slaves of rich sultans and integrated this new culture and religion into their own. The music of the Gnawa is a powerful mixture of religious Arabic songs and African rhythms, trance music tinged with mysticism. Typical instruments used in Gnawa are the tbal (loud double-headed-drums) and querqbat (metal castanets). CHAABI MUSIC • Chaabi is Arabic for "popular" or "of the people". It is basically pop music with Arab, African and western influences. • In Morocco, the 1970s saw the emergence of several groups recognised as pop innovators including JilJilala , Nass El-Ghiwane and Lem Chaheb . JEWISH MOROCCAN MUSIC IN THE PAST • After the expulsion of so many jews from Spain, they found refuge in Morocco and brought Andalusian music with them. This music got mingled with Moroccan music and gave birth to one of the most beautiful tunes. MOROCCAN JEWISH MUSIC TODAY • One of the premier contemporary North African singers is Emil Zrihan , a native of Morocco whose currently Jewish songs like Habibi Diyali and Bin Imbereh w’el Youm are sang in most Moroccan wedding celebrations. Other prominent contemporary Moroccan-Jewish musicians include Sefatayim , Habrera Hativit and Zehava Ben . MODERN MOROCCN MUSIC • Modern Moroccan music uses together with the traditional instruments, western ones such as the battery, the guitar… It also uses technical arrangements. RAP IN MOROCCO? • In recent years a huge interest in rap has emerged. The Moroccan artists put their own twist on the music, with the musicians rapping in Arabic, French, Moroccan Arabic, and English. Complete with D.J.'s, break dancers, and graffiti artists, they've created an underground, indigenous hip-hop movement that has been developing for nearly a decade. INTERNATIONAL MUSIC FESTIVALS IN MOROCCO • INTERNATIONAL GNAWA MUSIC FESTIVAL IN ESSAOUIRA • This annual festival in Essaouira Morocco is a 4 day celebration of the music of the descendants of African slaves of the country. The festival is quite lively and popular with the youth of the country and the music is very unique. Chiming cymbals, twangy string instruments complement trancelike vocals. • FEZ INTERNATIONAL SACRED MUSIC FESTIVAL • The city of Fez, Morocco, is the perfect place for the Festival of World Sacred Music. The ancient walled city takes pride in its artistic and intellectual heritage, and especially the centuries of peaceful coexistence of its communities of Christians, Jews and Muslims. That's why it's the home to the most diverse musical gathering in the world, bringing together the spiritual music of religions worldwide. RABIA EL ANTAKI

MOROCCO

rabia El Antaki — Tue, 30 Dec 2008 22:56:00 GMT

If you are interested in teaching some historical facts about Morocco, here is an overview of the history of this country. MOROCCO IS A CONSTITUTIONAL MONARCHY GEOGRAPHY Morocco is located on the westernmost tip of north Africa, bordering Algeria to the east and Mauritania to the south and southeast, the Atlantic ocean to the west and the Mediterranean to the north. MOROCCO IS AN AFRICAN, ARAB AND MOSLEM COUNTRY AFRICAN: because it is located in the northern west part of the African continent. ARAB : because the official language is Arabic. Moslem: because the official religion is Islam But the country has been subject,through centuries, to many invasions. That is why, Morocco is a diverse country. Its nearness to Europe is another reason for its diversity and openess to other cultures. THE HISTORY OF MOROCCO THE BERBERS -Since the beginning of history there have been Berbers in North Africa -They were already well established when the Phoenicians made their first incursions in 1200 BC. -Their origins are uncertain but thought to be Euro-Asiatic, The generic name Berbers was a Graeco-Roman word,meaning those who did not speak Latin or Greek. THE BERBERS The Berbers used to and still live in rural and mountain areas. There are three tribal groups of Berbers in Morocco. There is no standard form of Berber language since each tribal group has always used its own version, and there now there is a recognized Berber script called tiphinigh. Their strongest form of self-expression is music and dancing. The Phoenicians The first invaders are believed to have been the Phoenicians , in the 12C BC. Gradually they established trading posts along the north coast of Africa and traces at their occupation have been found in Tangier ,Chellah part of Rabat and Tamuda (near Tetouan). The Phoenicians were essentially a maritime peple. They are known to have developed the fish salting and preserving . They also grew wheat and probably introduced the grape. The Romans : After they had taken Carthage , the Romans moved westwards into the Berber kingdoms. They built the city of Volubilis and made of it an agriculture area The city was ruined in the 18 th c The main area of Volubilis, and the only area that really attracts visitors, Moroccans and foreigners, is no more than 800 x 600 metres (measured by the walls). Much of the best excavations have been moved to the Archaeological Museum close to the royal palace in Rabat, but Volubilis offers ruins of quite good quality, and about 30 high quality mosaics that still stand in their original place. ISLAM IN MOROCCO THE IDRISSIDES By the 7C AD the Arabs were in full expansion. It was in 670 that the first Arab invasions of the North African coastal plain took place under Oqba Ben Nafi , commander of the Umayed dynasty in Damascus. THE ALMOHADS A new power was emerging. The Almohades were Berbers from the high and the Atlas mountains . The whole country prospered : spiritually, intellectually, economically and architecturally. Marrakesh was still the capital. Fez flowered as never before, and the end of the 12C is generally regarded as an apogée in Morocco’s history. THE MERINIDES The Beni Marin were a tribe of Nomadic Zenata Berbers. They were the first to introduce the Mellah, or Jewish quarters in all major towns, so that the Jewish could live secure and unmolested. When the dynasty was feebled, Spain and Portugal were turning eyes towards Morocco . So, for a time, almost the entire west coast of Morocco became a separate Portuguese colony. THE SAADIANS Were descendants of the prophet Mohamed. They originally came from Arabia In the 12C, and settled in the South of Morocco. THE ALAOUITES They are the present rulers of the country. They were also descendants of the prophet Mohamed. They had arrived from Arabia some three centuries earlier to settle near Rissani in the Tafilalet region in the south.( They are referred to as Filali). Unlike preceding dynasties they did not move and seize power but were formally invited by the people of Fez to come to the capital and take over the throne of Morocco. In 1757, another wise and strong Alaouite ruler came to the throne. He was Mohamed ben Abdellah . He built the city of Essaouira and invited the English, the French, and the jewish people to settle and to trade there. In 1906, the Conference of Algeciras ( in which 30 nations were present) took place and had the effect of internationalizing the whole affair. Tangier was an international free port, and the whole country was under the protectorate of the French government. In 1912, Sultan Moulay Hafid signed the Treaty of FEZ . He was relieved from the power to govern. The country was under the control of France. The Sultan, at that time, signed a Berber decree in 1930, which on the contrary of what the French calculated, brought the two parties even closer. Then , a serious movement of national independence was born especially formed by young intellectuals from Rabat and Fez . In August 1953 the royal family was deported to Corsica and Madagascar, and another person was designed by the French to sit on the throne. Violence towards the French officials was the reaction of the Moroccan people, who claimed the return of the king. In March 1956, the French signed an agreement in which they granted full independence to Morocco. The Spanish did the same and Tangier lost its international status during the same year. The Sultan formed a government and French Officials were gradually replaced by Moroccans. In 1961, King Mohamed V was succeeded by Crown Prince Hassan II who presented a new constitution. The first elected parliament assembled on 1963. The Green March , which took place in 1975, is the most important event in the Reign of Late Hassan II. 350.000 unarmed Moroccans marched south into the desert to reassert the sovereignty of the Sahara which was in the hands of the Spanish at that time. A movement called The polisario was formed by the help of Algeria and Libya to oppose Moroccan rule and to fight for self determination of the Sahrawi. In July 23 rd , Late KING Hassan II was succeeded by Crown prince Mohamed Ibn Al Hassan , with the title of King Mohamed VI aged 36 years old and , holds a State doctorate on the subject of the relations between The European Union and the countries of the Maghreb, from the university of Sophia Antipolice of Nice. King Mohamed Ibn al Hassan gave his first Throne Speech on July 30 th 1999. The king is trying to make of Morocco a modern country. Most Moroccans like the king Moroccans, despite so many problems, live in security and relative well-being. IMPERIAL CITIES Rabat Rabat is the present capital of Morocco. Most of the administrative institutions are located is this city MARRAKECH Founded in 1062, Marrakech was once the capital of an empire that stretched from Toledo to Senegal. Called the ‘Pink City’ because of the color of the local earth used in its construction, it is a city of labyrinthine alleyways, secluded palaces, museums, mosques and markets. The Djemaa el-Fna, the city square, comes alive after nightfall; thronged with dancers, fortune-tellers, musicians, acrobats, storytellers and snake charmers, it is an exciting and occasionally bewildering place – an exotic spectacle that is striking and endlessly surprising. MEKNES Meknes is protected by 25km (16 miles) of battlements, flanked by towers and bastions. The city boasts a wonderful souk (market) and the old town is listed by UNESCO as a World Heritage Site. FEZ Fez is the most ancient and impressive of the imperial cities. Built in the eighth century, it has more history and mystery than anywhere else in Morocco. It is a huge maze of winding streets and covered bazaars where, if one is not careful, it is easy to get lost). There are magnificent examples of Hispano-Arabic architecture as well as numerous opportunities to see traditional craftspeople at work. The medina (market) in Fez El Bali is one of the largest in the world and is also one of UNESCO’s World Heritage list. CASABLANCA On the coast is the newer city of Casablanca. Founded at the beginning of the century, it is the country’s principal commercial town, the second-largest town in Africa and one of the continent’s biggest ports. Here stands the Hassan II Mosque, the world’s largest mosque with one of the world’s tallest minarets. TANGIER Tangier, gateway to Africa, is the country’s most cosmopolitan town, a place where – surviving from the days when Tangier was a free port – the street signs are in three languages; in fact, no less than 12 nations have occupied the city at one time or another since the fifth century. MOROCCO TODAY Area... Total: 446,550 km² Land: 446,300 km² Water: 250 km² Climate: Mediterranean, becoming more extreme in the interior Terrain: northern coast and interior are mountainous with large areas of bordering plateaus, intermontane valleys, and rich coastal plains Natural Hazards: northern mountains geologically unstable and subject to earthquakes; periodic droughts Natural Resources: phosphates, iron ore, manganese, lead, zinc, fish, salt Local Time in Morocco Greenwich Time. Remains constant all year Capital City of Morocco Governmental capital is Rabat. Casablanca is the commercial & industrial capital. Population of Morocco About 29,000,000 . Language in Morocco Moroccans generally speak their own dialect of Arabic and berber. French is used mainly in the south of Morocco, whilst in the north Spanish and French are commonly used. English is slowly being learnt by most of the population Moroccan Religions For the most part, the population is Muslim. There is, however, a considerable amount of Jewish people. In the north and south of Morocco the French and Spanish speaking population is generally Catholic. Moroccan Currency The Dirham (DH) = 100 cents

Presentation at Macece

rabia El Antaki — Tue, 23 Dec 2008 19:57:00 GMT

Last October I was invited by the Moroccan American Commission in Rabat to talk to new grantees about my experience in a teacher exchange program. The topic was to focus on the first part of the exchange, that is to say the part when my American partner came to Morocco. The presentation was a power point one, but here it is under word. Orientation for US & Moroccan Fulbright Teacher Grantees (2008/09) October 31, 2008 THE FULBRIGHT EXPERIENCE IN MOROCCO GEORGEANA WIELKOZEWSKI: ARIZONA RABIA EL ANTAKI: TANGIER HOW TO MAKE THE EXPERIENCE BOTH PRODUCTIVE AND ENJOYABLE YOUR EXPERIENCE IS ABOUT TO START YOU WILL NEED THREE KEYS TO OPEN THIS DOOR EMBRACE THE EXPERIENCE AT THE PROFESSIONAL LEVEL AT THE CULTURAL LEVEL AT THE PERSONAL LEVEL AT THE PROFESSIONAL LEVEL 1-BE SURE THAT WHAT YOU WILL SEE AT FIRST WILL NOT BE MORE THAN A VIEW FROM THE ANCIENT MUSHARABI CARVED WOODEN HOLES IN THE ANCIENT MOROCCAN WINDOWS 2-MAKE OF OBSERVATION YOUR EXPERIENCE OF THE FIRST DAYS How hast thou purchased this experience? By my penny of observation. WILLIAM SHAKESPEARE 3-Be ready for an unexpected teaching environment Large classes Lack of pedagogical materials Long syllabi BUT A lot of good will And teaching as well as learning are taking place 4-MY PARTNER STARTED TEACHING FROM THE VERY FIRST DAY 5-MY PARTNER’S TEACHING EXPERIENCE WAS QUITE FRUITFUL We agreed on the schedule as well as the themes or structures she felt at ease with and wanted to teach She also had some small projects that she carried out at the level of my classes, we had to agree on everything. 6-Her relationship with students • Students will be a bit reluctant at first • Make the first step and talk to them, introduce yourself, talk about your country, your interests, your students… • Be as active as you can in the class and outside • My partner was all the time around either teaching or helping students with the exercises 7-HER RELATIONSHIP WITH COLLEAGUES 8-She attended all the activities that I coached The public speaking presentations The drama club shows 9-Visit as many educational institutions as you can -Try to visit the widest variety of educational institutions: kindergarten, primary, high schools and college. An exposure to different classes and levels of students will give you the opportunity to meet most of your professional grant objectives. My partner visited other high schools -She gave presentations -A lot of interaction took place at those visits 10-IMMERSE IN ANY SCHOOL ACIVITY Attend meetings if it is possible Participate in any school activity Do sport with students Coach any workshop you might be interested in Adapt your activities to the Moroccan educational environment CULTURAL EXPERIENCE No culture can live if it attempts to be exclusive. Mohandas Gandhi TRY THE DIFFERENT MOROCCAN SPICES OF EVERYDAY LIFE A true culture give and take should be adopted by both parts gradually 1-KNOW YOUR HOST FAMILY MY PARTNER GOT ON VERY WELL WITH MY HUSBAND AND SON THEY VISITED MUSEUMS TOGETHER MY PARTNER DEVELOPED A RELATIONSHIP THAT WAS CULTURALLY REVEALING TO HER SHE HAD THAT EMPATHY THAT MADE HER FEEL AT EASE IN DIFFERENT SETTINGS SHE WANTED TO SHARE WITH MY FAMILY WHAT WE SHARED WITH HER WE HAD BEEN A FAMILY FOR HER AND SHE FITTED IN WELL 2-VISIT AS MANY CITIES AND PLACES AS YOU CAN: This will allow you to know different facets of Morocco WITH MY PARTNER, WE WENT TO MARRAKECH TO MEKNES AND FEZ CASABLANCA AND WE SPENT THE NICEST TIME IN TANGIER WE ALSO MET WITH OTHER FULBRIGHT GRANTEES I DISCOVERED A LOT ABOUT MYSELF AND MY COUNTRY AND MY PARTNER WENT THROUGH THE SAME EXPERIENCE This is a first hand culture experience Benefit from any culture exchange literacy Do not believe in anything simply because you have heard it. Culture is differences not uniformity PERSONAL EXPERIENCE We continue to shape our personality all our life. If we knew ourselves perfectly, we should die.” ALBERT CAMUS 1-LET YOUR EARS ENJOY NEW SOUNDS 2-YOUR HANDS FEEL NEW SENSATIONS 2-YOUR EYES APPRECIATE THE UNUSUAL 4-GET INVOLVED IN DIFFERENT LIFE EXPERIENCES Cook Sing Dance Go out with different people Go out by yourself Wear different clothes Learn some Moroccan Arabic TIPS FOR THE MOROCCAN TEACHER As soon as you get to school, introduce your partner to faculty and administration and explain the purpose of the visit. Go to the delegation to make your partner’s visits to other schools or institutions easier. TIPS FOR THE MOROCCAN TEACHER Your partner is here to teach and go through different experiences, just agree together and find a way for you to carry out your “program” and for them to share with students what they have to share. Give your partner the opportunity to meet other teachers and to attend and give presentations on campus and off. TIPS FOR THE AMERICAN TEACHER Get involved in teaching practices Experience diverse cultural activities in order to increase your cultural awareness Opt for a most probable Professional development TIPS FOR THE AMERICAN TEACHER Do not be over enthusiastic in implementing activities Expect some blank faces from students There is no topic you can’t discuss: just be diplomatic in answering some spiny issues. TIPS FOR MOROCCAN AND AMERICAN PARTNERS Work together Remember that sharing is caring Talk, talk again, talk always Never show discords in front of students This is your opportunity to work as a team professionally, to promote understanding culturally and to acquire new insights about yourself and others personally Teacher Exchange Program: A TRIP Of self-discovery Of a genuine human experience Of a gap-bridging process Of an ongoing cultural dialogue Of professional development Of you being able to say: oh! After all, I can make a difference Move forward with open eyes, wide ears, tolerant minds, but above all with open hearts. THE DOOR IS OPEN FOR YOU WELCOME TO MOROCCO ENJOY YOUR STAY RABIA EL ANTAKI

VIDEO SONGS IN THE LANGUAGE CLASSROOM BY MOHAMMED HASSIM

rabia El Antaki — Sat, 20 Dec 2008 20:51:00 GMT

Video Songs in the Language Classroom By Mohammed HASSIM Prepared for publication by: M. Hassim & E. Fahmi Introduction to the supplement 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. MATE Newsletter 2 Winter-Spring 2006, Volume 26 (3-4) Introduction 1. Why song teaching in foreign language classes? 1.1. The cultural and linguistic reasons 1.2. The pedagogical reasons 1.3. The material and technical reasons 2. What does video add to song teaching? 2.1. The differences between video and audio song teaching 2.2. The different types of video production of songs 2.3. The song as a whole 3. How can video songs be exploited in FLT classes? 3.1. Problems teachers may face 3.1.1. General problems 3.1.2. Problems related to video materials 3.1.3. Pedagogical problems 3.2. Some guidelines to the use of video songs in teaching 3.2.1. Selection 3.2.2. Exploiting the song as a whole 3.2.3. Video-song teaching as a planned work 3.2.4. Variety of activities 4. The practical side: two workshops & lesson plan samples 4.1. Two workshops for teacher-trainers and supervisors 4.1.1. Workshop 1: General principles and techniques in the use of Video materials in the classroom 4.1.2. Workshop 2: Using video songs in teaching 4.2. Examples of experimented lesson plans for teachers’ use 4.2.1. Video lesson 1: Is this love? By Bob Marley 4.2.2. Video lesson 2: Here comes the rain again, by Eurhythmics 4.2.3. Video lesson 3: You are wonderful tonight, by Eric Clapton 4.2.4. Video lesson 4: Salt water, by Julian Lennon 4.2.5. Video lesson 5: Don’t give up, by Peter Gabriel & Kate Bush Bibliography MATE Newsletter 3 Winter-Spring 2006, Volume 26 (3-4) Video songs in the language classroom Introduction 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. 1. Why song teaching in FL classes 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. 1.1. The cultural and linguistic 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. MATE Newsletter 4 Winter-Spring 2006, Volume 26 (3-4) 1.2. The pedagogical reasons: 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. 1.3. The material and technical reasons: What we mean by the material and technical side is the materials needed; namely the VCR/DVD/VCD players * , 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. (*NB: I advise teachers to opt for DVD players because of the high quality of pictures and because it can play most video forms). 2. What does the video add to song teaching? 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. 2.1. The differences between video and audio song teaching: 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 MATE Newsletter 5 Winter-Spring 2006, Volume 26 (3-4) 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. 2.2. The different types of video productions of songs: 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. 2.3. The song as a whole: 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). MATE Newsletter 6 Winter-Spring 2006, Volume 26 (3-4) 3. How can video songs be exploited in FLT classes? 3.1. Problems teachers may face: 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: i. those that are related to song teaching in general, ii. those that are related to the DVD player in particular, iii. and those that are of pedagogical nature. 3.1.1. General problems: when teaching 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. 3.1.2. Problems related to the DVD player: using the DVD in song teaching poses some special problems to teachers among which the following are the most prevalent: - lack of materials, namely; the DVD 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. 3.1.3. Pedagogical problems: on this level, 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 MATE Newsletter 7 Winter-Spring 2006, Volume 26 (3-4) repetitive practice of and experimentation with video materials in the classroom that may lead to real mastery of the tool. 3.2. Some guidelines to the use of video songs in teaching: 3.2.1. Selection: as any other teaching 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. 3.2.2. Exploiting the song as a whole: the 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. 3.2.3. Video-song teaching as a planned work: video song teaching should be dealt 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. 3.2.4. Variety of activities: teachers should 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. The practical side: workshops and lesson plan samples: 4.1. Two workshops for teacher-trainers and supervisors: 4.1.1. Workshop 1 : General principles and techniques in the use of video materials in the classroom: Title: An introduction to the use of video materials in the language classroom Objectives of the workshop: - 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. 1. Introduction: The following questions can serve as a springboard for an introductory discussion of the topic: MATE Newsletter 8 Winter-Spring 2006, Volume 26 (3-4) • What is the rationale behind the use of video materials in language teaching? • What are the differences between video materials (through the DVD player) and other teaching aids (pictures, textbooks, audio-cassette recorder, newspapers, readers, etc.)? The following quote can be used as a means to enrich the discussion: “Video can provide unique kinds of teaching. It can extend learners’ access to English and its uses by presenting a greater variety of speakers in a wider range of contexts than can be convincingly treated in the classroom or textbook. It can focus attention at work within whole systems of interaction, including non-verbal communication; and it can help supply the social and cultural background necessary for the language to be understood fully. The narrative interest of television can motivate learners to watch, to find out ‘what happens next’, and thus sharpen their determination to understand. The ability of television to focus closely on details and to show the telling moment can also make the meaning of difficult language immediately clear. Powerful images, suspense, visual comedy, animated cartoons and the activities of familiar characters will all make people want to watch and learn.” (Walton, 1988:2) 2. Some general principles and techniques for the use of the DVD in FLT : 2.1. Videos can generally be presented in 6 forms: (teachers can be urged to think of the 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) 2.2. Active viewing and the notion of viewing comprehension: Preparation for ‘viewing comprehension’ is not different from other lesson preparations (e.g. 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. 2.3. Selection: choosing a sequence for language teaching should take into consideration: i. level: interest, flexibility, suitability of language and subject matter ii. purpose: active viewing, vocabulary, grammar, pronunciation, the four skills, crosscultural concerns, testing, etc. MATE Newsletter 9 Winter-Spring 2006, Volume 26 (3-4) iii. sequence type: drama, documentaries, TV commercials, the news, ELT materials, specialised material, off-air/self-recorded material iv. sequence length: a meaningful unit, flexibility (the shorter, the better) “…long enough to convey meaningful content, yet short enough to allow classroom time for pre-viewing, viewing and post-viewing activities.” (Stoller, 1990:12) v. activity time: activities + number of viewings vi. preparation: integrating pre-viewing / viewing / post-viewing activities into the lesson; Bouman (1990:9) suggests the following adapted five-stage lesson preparation: 3. Activities: pre-viewing, viewing, post-viewing activities: Task: 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. Pre-viewing activities Viewing activities Post-viewing activities 4.1.2. Workshop 2: Application on video-songs: Title: Using video songs in teaching Objectives of the workshop: - 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. PRE-VIEWING Anticipate 1 st VIEWING Present EXPLOITATION Compare Practice Communicate 2 nd VIEWING Reinforce FOLLOW-UP Consolidate MATE Newsletter 1 0 Winter-Spring 2006, Volume 26 (3-4) 1. Introduction : A general discussion can start with the following question: What is the difference between teaching songs through the DVD and through the ACP? 2. Comparing two examples of video-song lessons : Task 1: Teachers examine the following two lesson preparations and make a comparison considering the elements in this table: Example 1 Example 2 1. Level 2. Purpose 3. Techniques 4. Activities 5. The lesson as a whole Example 1: The song You are wonderful tonight, By Eric Clapton Example 2: The song Salt Water, By Julian Lennon 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. MATE Newsletter 1 1 Winter-Spring 2006, Volume 26 (3-4) Example 1: The lesson plan You are wonderful tonight, by Eric Clapton Example 2: The lesson plan Salt Water, by Julian Lennon Pre-viewing activities: - 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 Viewing activity: - first viewing + checking answers Post-viewing activity: - 2 nd viewing + discussion + singing. NB: In fact, unlike lesson plan 2, lesson plan 1 has been prepared as normally done with an audio-song. This is to show that a video-song should be prepared differently. Pre-viewing activities: - vocabulary / glossary of key words - introducing the song / singer / the video Viewing activity: - 1 st viewing (silent) + task: What are the topics that the 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 - 2 nd viewing + reading the script + discussion: “Are the 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?” Post-viewing activity & follow-up: - 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. TASK 2: In small groups or in pairs, teachers prepare a lesson plan for the following song considering the elements included in the table and using the information presented earlier in the previous two lessons: Is This Love? By: Bob Marley Lesson Plan: Is This Love? By: Bob Marley Level: Purpose: Techniques: Activities: Pre-viewing: Viewing: Post-viewing: 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. Repeat everything from the beginning Follow-up : - Teachers exchange their lesson preparation with other groups and compare them with their own. MATE Newsletter 1 2 Winter-Spring 2006, Volume 26 (3-4) - Teachers compare their lessons with the following lesson preparation. Is This Love? By: Bob Marley 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) . . Repeat everything from the beginning Is This Love? Lesson Plan I. Introducing the video: (pre-viewing) 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? II. Viewing: 1. play first two stanzas, vision off / sound on (only listening); students try to guess the answer? 2. 2 nd viewing, vision on / sound on + discussion of students’ answers. 3. description of: the place / children / activities. III. Complete viewing: 1. first complete viewing; vision on / sound on 2. second viewing + filling the blanks 3. correction + exploitation of visual clues for difficult items. IV. Post-viewing: - discussion of the video clip and the topics included in the song. 4.2. Examples of experimented lesson plans for teachers’ use 4.2.1. Video lesson 1: Is this love? By Bob Marley: Is This Love? By: Bob Marley I wanna (want to) love you And treat you (1) right , I want to love you Every day and (2) every night . We’ll be together With the roof right (3) over our head , We’ll share the shelter Of (4) my single bed . We’ll share the (5) same room , Oh, Jah provide the bread. Is this love, is this love, Is this love that I (6) 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 (7) cards on your table. REPEAT EVERYTHING Lesson Plan : Is This Love? I. Introducing the video: (pre-viewing) 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? II. Viewing: 1. play first two stanzas, vision off / sound on (only listening); students try to guess the answer? 2. 2 nd viewing, vision on / sound on + discussion of students’ answers 3. description of: the place / children / activities III. Complete viewing: 1. first complete viewing; vision on / sound on 2. second complete viewing + filling the blanks 3. correction + exploitation of visual clues for difficult items. IV. Post-viewing: - discussion of the video clip and the topics included in the song. MATE Newsletter 1 3 Winter-Spring 2006, Volume 26 (3-4) 4.2.2. Video lesson 2: Here comes the rain again, by Eurythmics: 4.2.3. Video lesson 3: You are wonderful, by: Eric Clapton: Here comes the rain again By: Eurhythmics 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 Lesson Plan: Here comes the rain again I. Introduction : (previewing) 1. silent viewing of the first pictures before the singer appears + description 2. 2 nd silent viewing until the singer appears on the scene: students (SS) guess about the general atmosphere of the song + introducing the singer / the song / vocabulary. II. Viewing: 1. part 1: - students read 1 st stanza + chart-filling: Elements of nature Feelings - 1 st part viewing: SS compare the table with the pictures and music. 2. part 2: SS read 2 nd part (2 nd & 3 rd stanzas) +chart-filling: Actions Indications - SS view part 2 + discussion (theme / scenes) III. Complete viewing : - complete viewing + singing - discussion: What does rain stand for in the song? You are wonderful tonight, by: Eric Clapton It’s late in the evening She’s wondering what (1) clothes to wear, She’ll (2) put on her make up, And (3) brush her long hair, And then she’ll ask me, “do I (4) look all right ?” And I’ll say, “yes, you look wonderful tonight.” You go to (5) a party And every one turns to see this (6) beautiful lady That’s walking around me, And then she’ll ask me; “Do you (7) feel all right?” 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.” It’s time to (8) go home , And I’ve got an aching head, So I’ll (9) give her the car keys, She’ll help me to bed, And then I’ll tell her As I (10) turn off the light, I’ll say; “My darling, you were wonderful tonight, Oh, my darling, you were wonderful tonight.” Lesson Plan : You are wonderful tonight Pre-viewing activities: - 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 Nelson Mendela at his 70 th anniversary) Viewing activity: - first viewing + checking answers -description of singers, audience, place, etc. Post-viewing activity: - 2 nd viewing + discussion + singing. MATE Newsletter 1 4 Winter-Spring 2006, Volume 26 (3-4) 4.2.4- Video lesson 4: Salt water, by Julian Lennon 4.2.5- Video lesson 5: Don’t give up, by Peter Gabriel & Kate Bush: Salt water, by Julian Lennon 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 is 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. Lesson Plan: Salt water, by Julian Lennon Pre-viewing activities: - vocabulary / glossary of key words - introducing the song / singer / the video Viewing activity: - 1 st viewing (silent) + task: What are the topics that the 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 - 2 nd viewing + reading the script + discussion: “Are the 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?” Post-viewing activity & follow-up: - 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. In this proud land, we grew up strong; We were wanted all along. I was taught to fight, taught to win; I never thought I could fail. No fight (is) left or so it seems; I am a man whose dreams have all deserted; I’ve changed my face, I’ve changed my name, But no one wants you when you lose. * * * * * * * Don’t give up, ‘cos (because) you have friends, Don’t give up, you’re not beaten yet, Don’t give up, I know you can make it good. * * * * * * * Though I saw it all around, (I) never thought I could be offended, (I) thought that we’d be last to go; It is so strange the way things turn. (I) drove the night toward my home; The place that I was born, on the lakeside. As daylight broke, I saw the earth, The trees that burned down to the ground. * * * * * * * Don’t give up, you still have us, Don’t give up, We don’t need much of anything Don’t give up, ‘cos somewhere there’s a place where we belong Rest your head, you worry too much; It’s going to be alright, When times get rough, you can fall back on us, Don’t give up, please don’t give up. * * * * * * * (I’ve) got to walk out of here, I can’t take any more. (I’m) going to stand on that bridge, Keep my eyes down below; Whatever may come and whatever may go, That river’s flowing, that river’s flowing. (I) moved on to another town, Tried hard to settle down; For every job (there are) so many men; So many men no one needs. * * * * * * * Don’t give up, ‘cos you have friends, Don’t give up, you’re not the only one, Don’t give up, no reason to be ashamed, Don’t give up, you still have us, Don’t give up now, we’re proud of who you are, Don’t give up, you know it’s never been easy, Don’t give up, ‘cos I believe there’s a place, There’s a place where we belong. MATE Newsletter 1 5 Winter-Spring 2006, Volume 26 (3-4) Lesson Plan : Don’t give up by Peter Gabriel & Kate Bush I. Introduction : - 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. II. Viewing activities: - 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): A B - optimism - happiness - glamour - pessimism - sadness - gloominess - before a complete viewing, SS also guess through a table what the tune of the song is like: - complete viewing of the first part, 1 st and 2 nd stanzas, before the second voice is heard (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? III. Post-viewing & follow-up: - freeze-frame at certain pictures for further detailed description and discussion - SS rewrite the story in a narrative / paragraph form. A B - slow - low - quiet - quick - high - noisy BIBLIOGRAPHY 1. Bouman, L., 1990, “Veni, video, vici : video in language teaching,” Forum, Vol. 28, N°2, April (USA) 2. Cooper, R., Leavery, M., and Rinvolucri, 1991, Video, Oxford University Press, (UK) 3. Horner, D., 1993, “The sound of music: some pedagogic principles for using songs in class,” Modern English Teacher, Vol.2, N° 3,July, Macmillan Publishers Ltd. (UK) 4. Lonergan, J., 1984, Video in language teaching, Cambridge University Press, (UK) 5. Murphey, T., 1992, Music and song, Oxford University Press 6. Stempleski, S., and Tomalin, B., 1990, Video in action, Prentice Hall International Group, (UK) 7. Stoller, F.L., 1990, “Films and videotapes in the content-based ESL/EFL classroom,” Forum, Vol. 28, N° 4, October (USA) 8. Tomalin, B., 1990, Video in the English class, BBC English (UK) 9. Walton, P., 1988, BBC video courses 1988, BBC English (UK) MATE Newsletter 1 6 Winter-Spring 2006, Volume 26 (3-4) Teachers are requested to send contributions for coming issues of the supplement. Suggested areas: Teaching / learning activities or tests related to - English for specific purposes (ESP) - Information and communication technology (ICT) - English for children - English for academic purposes (EAP) - English through literature - Giving presentations & public speaking - Video materials - Study skills - The 4 skills - Grammar - Vocabulary - Light activities - Etc. You don’t need to send a whole supplement. Single activities are welcome. Please send the activities to the following email: MATE email account: matemorocco@yahoo.com MATE website: www.mate.org.ma MATE Newsletter 1 7 Winter-Spring 2006, Volume 26 (3-4)

Project work for teachers of English: Project work for teachers of English: Project work for teachers of English:

rabia El Antaki — Sat, 20 Dec 2008 20:45:00 GMT

Project work for teachers of English: Examples from exchange and online programs By Mohammed Hassim, ELT supervisor, Zagora Abstract: Teacher development is a key factor in any educational reform. However, the reality in Morocco is that it has been one of the most neglected areas. Yet with the emergency program to be launched by the National Ministry of Education, teacher development and training has become a priority and we hope this will be implemented efficiently. Still the role of the teacher and his/her responsibility in his/her own professional development is part of his/her professional qualities that needs enhancement. There are various ways of teacher development. Project work is a real source of experience and capacity building for teachers given the different skills and competencies invested in it. In this presentation, I’ll - present the advantages of teacher project work and its benefits in teacher professional development - give some examples from my own experience as a teacher and supervisor - focus on some projects undertaken within some exchange and online programs. Introduction “Educational change depends on what teachers do and think – it’s as simple and as complex as that.” (Fullan & Stiegelbauer, 1991) p. 117 (In Philip Adey et al, 2004:3) Philip Adey et al,2004, The Professional Development of Teachers: Practice and Theory Kluwer Academic Publishers, New York , Boston , Dordrecht , London , Moscow Resources, information, knowledge are no more a problem. The problem is how to process them and make use of them based on your needs and context. inactive reactive teachers active proactive 1. What is project work? Definitions: “A project is a problem scheduled for solution.” —J. M. JURAN in Fundamentals of Project Management, 1995, by James P. Lewis, AMACOM Books “A problem is a gap between where you are and where you want to be, with an obstacle that prevents easy movement to close the gap.” Project management : The planning, scheduling, and controlling of project activities to meet project objectives. Performance : The quality of the work being done. Cost: The cost of project work, directly related to the human and physical resources applied. Time: The schedule that must be met. Scope: The magnitude of the work to be performed. 2. Benefit of teacher-based project work - problem solving driven (looks for solutions and not someone/something to blame) - based on local/personalized needs - starts from reality to achieve certain change - product-oriented - practical and structured - based on accumulated experience and leads to further teacher development - leads to change and improvement - long term-planned - teacher and student-centered - entails collaborative work - requires and builds leadership qualities (having a vision, decision making, planning, managing, problem solving, collaborating, evaluating, influencing reality, creating change, etc.) Professional development and growth 3. Obstacles Time consuming Requires much effort May be faced with physical and human obstacles 4. Requirements of successful project work - having a clear definition of the problem (this will help come to the right solutions) - defining the desired end state or outcome - collecting information about the problem - seeking information from the literature and experts to get to informed decisions - thinking about possible obstacles and thinking of possible solutions - planning with clear vision of scope, cost and time - evaluating - making use of ICT for communication, collaboration and publication (sharing) 5. Examples from experience: 5.1. Teaching through the video (1989-1993) Lesson plans, Teacher training, A booklet (see http://perso.menara.ma/mhassim) 5.2. Listening comprehension lessons (2001-2002) A booklet: 25 lessons (see http://perso.menara.ma/mhassim) 5.3. Partnership for Learning (P4L), Delaware University (2005-2006) - Using distance communication and the internet for in-service training and professional self-development - Teacher development through materials development (Using books in a box) A website (see http://perso.menara.ma/mhassim) A yahoogroup nicenet.net class Teaching materials development 5.3. Shaping the way we teach English (online course), Ohio University (2006-2008) Training teachers on peer observation, creating a peer observation checklist Further development: Reflective teaching, teacher portfolio, teacher project work. 6. What’s next? - Professional development and growth: have a rich portfolio/ profile/ CV - Become competitive - Share and enrich ELT community - Celebrate success Need to include teacher project work in teacher evaluation and promotion References Adey, Philipet al, 2004, The Professional Development of Teachers: Practice and Theory, Kluwer Academic Publishers, New York, Boston, Dordrecht, London, Moscow Lewis, James P., 1995, Fundamentals of Project Management, by, AMACOM Books

Peer Observation Sheet: Hassim: Moroccan supervisor

rabia El Antaki — Sat, 20 Dec 2008 20:38:00 GMT

Peer Observation Sheet Observer: ………………………………………………….. Institution: ………………………………………………... Observee: …………………………………………………. Institution: ……………………………………………….. Date: ..................................................... Time: ………………………………. Class: …………………………………… Number of Students: ……………. General information about the lesson: Textbook: ………………………… Unit: …. Page: ….. Lesson type: ……………...……. ……. Title: ……………………………. Short account of the lesson content: …………………………………………………………………………………………………………………………………………………………….…………………………………………………………………………………………………………………………………………………………….…………………………………………………………………………………………………………………………………………………………….…………………………………………………………………………………...........…………………………………………………………….…….……………………………………………………………………………………………………………………………………………………………. Evaluation Scale: A: Excellent B: Good C: Average D: Needs more attention E: Poor NA: Not Applicable Observation Rubrics A B C D E NA Comments Use of teaching materials: 1. Use of the textbook ………………………………………………………………………........................... 2. Use of the blackboard ………………………………………………………………………........................... 3. Use of visual aids ………………………………………………………………………........................... 4. Use of other materials ………………………………………………………………………........................... Teacher’s personal qualities: 5. Teacher’s voice projection ………………………………………………………………………........................... 6. Teacher’s handwriting ………………………………………………………………………........................... 7. Teacher-student rapport ………………………………………………………………………........................... 8. Psychological atmosphere ………………………………………………………………………........................... Classroom management: 9. Teacher – Student interaction ………………………………………………………………………........................... 10. Student – Student interaction ………………………………………………………………………........................... 11. Error correction and feedback ………………………………………………………………………........................... 12. Clarity of instructions ………………………………………………………………………........................... 13. Pace of the lesson ………………………………………………………………………........................... Activity types: 14. Appropriateness of activities ………………………………………………………………………........................... 15. Integration of the 4 skills ………………………………………………………………………........................... 16. Accuracy-fluency balance ………………………………………………………………………........................... 17. Receptivity-productivity balance ………………………………………………………………………........................... Pedagogical Documents: 18. Lesson plan ………………………………………………………………………........................... 19. Lessons record book ………………………………………………………………………........................... 20. Syllabus progression 21. Continuous assessment ………………………………………………………………………........................... 22. Students’ copy books/ projects/ … ………………………………………………………………………........................... Overall evaluation of teacher’s performance: …………………………………………………………………………………...........…………………………………………………………….…….…………………………………………………………………………………………………………………………………………………………….…………………………………………………………………………………………………………………………………………………………….…………………………………………………………………………………………………………………………………………………………….…………………………………………………………………………………...........…………………………………………………………….…….…………………………………………………………………………………………………………………………………………………………….

FULBRIGHT ALUMNI CONFERENCE: guest speakers: Louani

rabia El Antaki — Sat, 20 Dec 2008 20:00:00 GMT

A Quick Survey of Free Web 2.0 Applications for the EFL Classroom What are they? How can I use them? Examples Blogs online journals (web + log) or reverse chronological collection of texts · Journaling · A place to post written work · Blogger http://blogger.com · Wordpress http://wordpress.com · Edublogs http://edublogs.org/ · Multiply (more than just a blog) http://multiply.com · Motime http://motime.com · ESL Blogs http://eslblogs.englishclub.com/ Aggregators/Feed Readers applications which collect syndicated web pages in one place for easy viewing Allows you (and students) to subscribe to blogs, so you don't have to check them individually for new posts · Google Reader http://www.google.com/reader · Bloglines http://bloglines.com Wikis sets of easily edited/modified web pages · Class website · Collaborative writing · Collection of student pages · Writing portfolio · Speaking portfolio · PBWiki http://pbwiki.com · Wikispaces http://www.wikispaces.com · Wetpaint http://www.wetpaint.com Online discussion groups online bulletin boards where group members can post and read messages • Easily send messages to your class • Discuss a topic in writing (asynchronous) • Upload files and photos • Post links • Stay in touch with former students • Yahoo Groups http://groups.yahoo.com • Google Groups http://groups.google.com Text chat synchronous text messaging · Real-time written discussion · Office hours · Tapped In http://tappedin.org · Gmail chat http://snipurl.com/3npq8 · Gabbly Chat (comes with PBwiki) VoIP (Voice over Internet Protocol) internet telephony · Real time oral discussion · Office hours · Skype http://skype.com · Yahoo Messenger with Voice http://messenger.yahoo.com · MSN Messenger http://webmessenger.msn.com Authentic listening Conversations and lectures by native or fluent non-native speakers. Some are created specifically for ELLs · Whole-class listening practice · Individual listening practice in the lab or at home · YouTube http://youtube.com · TeacherTube http://teachertube.com · Real English http://real-english.com · English Listening Language Lab Online http://www.elllo.org/english/home · TED http://ted.com Social networking websites where people can network, discuss issues, socialize, and share information · Authentic reading and writing · Staying connected when the class is over · Facebook http://facebook.com · MySpace http://www.myspace.com/ Voice Boards/Fora an asynchronous audio message board or audioforum where users can upload voice messages on various topics · Rehearsed speaking practice · Speaking to an authentic audience · Oral assessments · MyChingo http://www.mychingo.com · Chinswing http://chinswing.com · Springcast http://www.springdoo.com · Vaestro http://vaestro.com · VoiceThread http://voicethread.com/#home Voice and video mail email with an audio or video component embedded directly in the message or linked to the message · Speaking assignments or assessments · Listening and speaking practice · Gabmail/gabjam http://www.freegabmail.com/ · Eyejot http://www.eyejot.com/ · HandyBits http://www.handybits.com/voicemail.htm Podcasting a way to distribute audio and/or video content on the internet, convertible to an MP3 file for portability · Freely available listening passages (e.g., http://www.absolutely-intercultural.com/) · Teacher-made listening passages relevant to class material · A wider audience for student oral presentations · Podomatic http://podomatic.com · Audacity http://audacity.com · PowerGramo http://www.powergramo.com/ · Blogcheese http://www.blogcheese.com Photostories a way to combine images or video with text and sound to create a story or project · Create classroom materials for listening and/or reading · Have students create illustrated stories, recipes, presentations · Create a webinar for students or professional development · MS PhotoStory 3 http://snipurl.com/3npdd · Slideshare http://www.slideshare.net · Bubbleshare http://bubbleshare.com · VoiceThread http://voicethread.com/#home Virtual classrooms websites that permit users to make presentations or teach classes to an online audience, using audio, video, text chat, and interactive whiteboard · Distance learning · Blended learning · Online student presentations · Professional development · WiZiQ http://www.wiziq.com/ Online gradebooks and course management tools internet-based educational programs for recording grades and attendance; posting syllabi, homework assignments and course materials; hosting for a or discussions; and more · Distance learning · Blended learning · Electronic gradebook · Engrade http://engrade.com (grading, attendance, and assignments only) · Moodle http://moodle.com/ (requires server space) · Manhattan Virtual Classroom http://manhattan.sourceforge.net Online exercise creators software which permits teachers to create course-related exercises for students to do online · Multiple-choice · Short-answer · Gap-fill · Crossword puzzles · Matching/ordering · Hot Potatoes http://hotpot.univ.ca/ (free for public school teachers who share their creations online) · Lesson Writer http://www.lessonwriter.com Mr Nour_eddine laouni EFL instructor Mearn E mail : nourla2000@yahoo.com ALUMNI CONFERENCE Teacher Exchange Program Delaware P4L, ILEP Moulay Rachid Institute October 27 – 28, 2008

FULBRIGHT ALUMNI CONFERENCE: program

rabia El Antaki — Sat, 20 Dec 2008 19:48:00 GMT

ALUMNI CONFERENCE Teacher Exchange Program, Centre des Formations et des Rencontres Nationales October 27 – 28, 2008 October 27, 2008 09:00 Opening remarks by Mr. Daoud Casewit, Executive Secretary, MACECE 09:10 Mr. Aziz Nahya, Director of Cooperation, Ministry of National Education The Ministry’s note on teachers’ exchange programs 09:20 Mr. Mitchell Cohn, Cultural Attaché, American Embassy 09:30 Ms. Ruth Petzold, Regional English Language Officer (RELO), American Embassy 09:40 Coffee break 09:55 Introduction of Panel 10:00 - Noureddine Bendouqi , Inspector, Ministry of Education, Rabat, “Leadership Development for English Language Teachers” 10:30 - Discussion facilitated by ELF Randi Perlman 10:40 - Ahmed Chaibi , Inspector, Ministry of Education, Rabat , “The Moroccan English Language Curriculum” 11:10 - Discussion facilitated by RELO 11:20 - Jamila Boulima, Ecole Normale Supeieure : “Reflections on How Exchange Teachers Could Impact the Education of Future Teachers of English ” 11:50- Discussion facilitated by ELF 12:00 First half of participants reflect on US experience · What program did you participate in and what did you learn? · How has the US experience impacted your teaching so far? · Suggestions for keeping teachers energized after their exchange experience 13:15 Lunch 14:30 Second half of participants reflect on US experience · What program did you participate in and what did you learn? · How has the US experience impacted your teaching so far? · Suggestions for keeping teachers energized after their exchange experience 15:45 Mohammed Hassim , Inspector, Ministry of National Education “Project Work for Teachers of English: Examples from Exchange and On-line Programs” 16:25 Discussion & Project Brainstorm facilitated by RELO 16:45 Coffee break 17:00 Small Groups / Pairs to begin shaping projects 17:30 Whole group shares ideas October 28, 2008 09:00 Bouchra Aarif , Professor of English, Casablanca “My Grant Writing Experience: From Application to Implementation” 09:40 Discussion facilitated by ELF Randi Perlman 10:00 Coffee Break 10:20 Issam Moussaoui , Independent Consultant, Capacity Building “Initiation to the Teachniques of Grant Writing” 11:00 Discussion facilitated by RELO 11:20 Introduction of Panel Members 11:25 - Fatima Kalyati “Resource Centers: Management, Activities, and Projects” 11:45 Discussion facilitated by RELO 11:55 – (Fatima Sadiqi, “Towards and Egalitarian Education in Morocco”) : Canceled. 12: 15 _ Discussion facilitated by ELF 12:25 – Noureddine Laouni , MEARN “Using the Internet for English Teaching Projects” 12: 45 Discussion facilitated by ELF 13:00 Lunch 14:15 Pair & Small Group Work continue on projects 15:30 Pair & Small Group Work Reports 16:45 Coffee Break 17:00 Panel Response to Project Ideas § Ministry Representatives Chaibi and Bendouqi § ENS Representative Boulima § University Representative Mellouk, Faculty of Education, Rabat 18:00 Closing Reception

Teacher Development

rabia El Antaki — Fri, 19 Dec 2008 19:18:00 GMT

One of the main things that allow boredom and laziness to sneak into a teacher’s daily life is stagnation. After spending some years teaching, a lot of things change. The old omnipresent omnipotent teacher can no longer have any impact on the teaching practices in a new digital world. As the world has known so many changes these last decades, teachers should go through the same change. Some teachers have developed the bad habit of doing the same thing the same way for years and years. When one attends their classes, they seem to be landing in a world full of dust. Teachers should develop professionally and personally. Our developing countries unfortunately do no offer continuous training, but this does not mean that a teacher could go on operating the same way he used to do 30 years ago. A lot of training is possible among teachers of the same school or community. A lot of training is also possible by introducing and experimenting with new tools. Teachers should also, from time to time take up studies, this will allow them to experience all the hardships the students face, and by the same way, it will help them develop both personally and professionally.