English teaching methods (2)

Silent way:

The Silent Way is a language teaching method created by Caleb Gattegno that makes extensive use of silence as a teaching technique. It is not usually considered a mainstream method in language education. It was first introduced in Gattegno’s book Teaching Foreign Languages in Schools: The Silent Way in 1963. Gattegno was skeptical of the mainstream language education of the time, and conceived of the method as a special case of his general theories of education. The method emphasizes the autonomy of the learner; the teacher’s role is to monitor the students’ efforts, and the students are encouraged to have an active role in learning the language. Pronunciation is seen as fundamental; beginning students start their study with pronunciation, and much time is spent practicing it each lesson. Evaluation is carried out by observation, and the teacher may never set a formal test. The teacher uses silence for multiple purposes in the Silent Way. It is used to focus students’ attention, to elicit student responses, and to encourage them to correct their own errors. Even though teachers are often silent, they are still active; they will commonly use techniques such as mouthing words and using hand gestures to help the students with their pronunciation. Teachers will also encourage students to help their peers.

As the name already suggests, the method is built upon the hypothesis that inside the classroom the teacher should be as silent as possible, whereas the students/learners should be encouraged to produce as much language as possible, participate actively in class and in this way become autonomous learners. Silence is regarded as the best instrument for learning in the classroom, because “in silence students concentrate on the task to be accomplished and the potential means for its accomplishment” (Richards & Rodgers 2001: 83). The techniques of the Silent Way “made it possible for the teacher to say less and less as the lessons advanced, while the pupils were saying more and more and using their own inner criteria developed in this approach” (Gattegno 1972: preamble). In general, there are three basic theories on which Gattegno’s work is founded: 1. Learning is regarded as a “problem-solving, creative, discovering activity”(Richards & Rodgers 2001: 81), in which the learner rather acts and participates actively than just being passive and doing nothing but listening to the teacher. If the learner is involved directly, he automatically benefits from the so called “discovery learning”. 2. The use of special physical objects such as colored wooden rods or color -coded wall charts facilitates learning. These physical objects “provide physical foci for student learning and also create memorable images to facilitate student recall” (Richards & Rodgers 2001: 81). 3. Learning is facilitated by involving the learners and letting them solve problems on their own with the help of the provided materials. 

In this method, there are particular diffirentiated roles: 

Teacher Roles: The Silent Way is not a teacher- centred approach. While the teacher uses mainly gestures and facial expressions to address the learners, his/her main task is the teaching of the language by letting the students test out grammatical forms, etc. and getting out of their way, so that they can discover these things on their own.

Learner Roles: The learners are expected to participate in class actively. They should be willing to make mistakes, to test out the basic language elements via the usage of the materials provided and generally be highly motivated. As a learner, it is important not to get frustrated in case the Silent Way lesson sometimes may be a little tricky and the meaning of the materials is not always clear at first sight. Therefore, it is important to be able and willing to think in a rather abstract way so that the meaning of the provided material can be detected.

http://ratnaditanaya.wordpress.com/2012/06/30/teaching-method-silent-way/

Suggestopedia

Often considered to be the strangest of the so-called "humanistic approaches", suggestopedia was originally developed in the 1970s by the Bulgarian educator Georgi Lozanov. Extravagant claims were initially made for the approach with Lozanov himself declaring that memorization in learning through suggestopedia would be accelerated by up to 25 times over that in conventional learning methods. The approach attracted both wild enthusiasm in some quarters and open scorn in others. On balance, it is probably fair to say that suggestopedia has had its day but also that certain elements of the approach survive in today’s good practice. The approach was based on the power of suggestion in learning, the notion being that positive suggestion would make the learner more receptive and, in turn, stimulate learning. Lozanov holds that a relaxed but focused state is the optimum state for learning. In order to create this relaxed state in the learner and to promote positive suggestion, suggestopedia makes use of music, a comfortable and relaxing environment, and a relationship between the teacher and the student that is akin to the parent-child relationship. Music, in particular, is central to the approach. Unlike other methods and approaches, there is no apparent theory of language in suggestopedia and no obvious order in which items of language are presented.

The original form of suggestopedia presented by Lozanov consisted of the use of extended dialogues, often several pages in length, accompanied by vocabulary lists and observations on grammatical points. Typically these dialogues would be read aloud to the students to the accompaniment of music. The most formal of these readings, known as the "concert reading", would typically employ a memorable piece of classical music such as a Beethoven symphony. This would not be in the form of background music but would be the main focus of the reading, with the teacher’s voice acting as a counterpoint to the music. Thus the "concert reading" could be seen as a kind of pleasurable event, with the learners free to focus on the music, the text or a combination of the two. The rhythm and intonation of the reading would be exaggerated in order to fit in with the rhythm of the music.

A second, less formal reading would employ a lighter, less striking piece of music, such as a piece of Baroque music, and this would take a less prominent role. During both types of reading, the learners would sit in comfortable seats, armchairs rather than classroom chairs, in a suitably stimulating environment in terms of décor and lighting. After the readings of these long dialogues to the accompaniment of music, the teacher would then make use of the dialogues for more conventional language work. In theory at least, large chunks of the dialogues would be internalized by the learners during the readings due both to the relaxed and receptive state of the learners and to the positive suggestion created by the music. There is, however, little evidence to support the extravagant claims of success. The more obvious criticisms lie in the fact that many people find classical music irritating rather than stimulating (to some cultures Western music may sound discordant), the length of the dialogues and the lack of a coherent theory of language may serve to confuse rather than to motivate, and, for purely logistic reasons, the provision of comfortable armchairs and a relaxing environment will probably be beyond the means of most educational establishments. In addition the idea of a teacher reading a long (and often clearly inauthentic) dialogue aloud, with exaggerated rhythm and intonation, to the accompaniment of Beethoven or Mozart may well seem ridiculous to many people.

This is not to say, however, that certain elements of the approach cannot be taken and incorporated into the more eclectic approach to language teaching widely in evidence today. The use of music both in the background and as an accompaniment to certain activities can be motivating and relaxing. Attention to factors such as décor, lighting and furniture is surely not a bad thing. Dialogues too have their uses. Perhaps most importantly of all the ideas, creating conditions in which learners are alert and receptive can only have a positive effect on motivation. Whether these conditions are best created by the use of classical music and the reading of dialogues is open to questions but there is no doubt that suggestopedia has raised some interesting questions in the areas of both learning and memory.

http://www.onestopenglish.com/support/methodology/teaching-approaches/teaching-approaches-what-is-suggestopedia/146499.article

Total physical response (TPR)

Originally developed by James Asher, an American professor of psychology, in the 1960s, Total Physical Response (TPR) is based on the theory that the memory is enhanced through association with physical movement. It is also closely associated with theories of mother tongue language acquisition in very young children, where they respond physically to parental commands, such as "Pick it up" and "Put it down". TPR as an approach to teaching a second language is based, first and foremost, on listening and this is linked to physical actions which are designed to reinforce comprehension of particular basic items. A typical TPR activity might contain instructions such as "Walk to the door", "Open the door", "Sit down" and "Give Maria your dictionary". The students are required to carry out the instructions by physically performing the activities. Given a supportive classroom environment, there is little doubt that such activities can be both motivating and fun, and it is also likely that with even a fairly limited amount of repetition basic instructions such as these could be assimilated by the learners, even if they were unable to reproduce them accurately themselves.

The above examples, however, also illustrate some of the potential weaknesses inherent in the approach. Firstly, from a purely practical point of view, it is highly unlikely that even the most skilled and inventive teacher could sustain a lesson stage involving commands and physical responses for more than a few minutes before the activity became repetitious for the learners, although the use of situational role-play could provide a range of contexts for practising a wider range of lexis. Secondly, it is fairly difficult to give instructions without using imperatives, so the language input is basically restricted to this single form. Thirdly, it is quite difficult to see how this approach could extend beyond beginner level. Fourthly, the relevance of some of the language used in TPR activities to real-world learner needs is questionable. Finally, moving from the listening and responding stage to oral production might be workable in a small group of learners but it would appear to be problematic when applied to a class of 30 students, for example.

In defence of the approach, however, it should be emphasized that it was never intended by its early proponents that it should extend beyond beginner level. (In theory it might be possible to develop it by making the instructions lexically more complex (for example, "Pick up the toothpaste and unscrew the cap"), but this does seem to be stretching the point somewhat). In addition, a course designed around TPR principles would not be expected to follow a TPR syllabus exclusively, and Asher himself suggested that TPR should be used in association with other methods and techniques. In terms of the theoretical basis of the approach, the idea of listening preceding production and learners only being required to speak when they are ready to do so closely resembles elements of Stephen Krashen’s Natural Approach. Short TPR activities, used judiciously and integrated with other activities can be both highly motivating and linguistically purposeful. Careful choice of useful and communicative language at beginner level can make TPR activities entirely valid. Many learners respond well to kinesthetic activities and they can genuinely serve as a memory aid. A lot of classroom warmers and games are based, consciously or unconsciously, on TPR principles. As with other "fringe" methods, however, wholesale adoption of this approach, to the total exclusion of any other, would probably not be sustainable for very long.

http://www.onestopenglish.com/support/methodology/teaching-approaches/teaching-approaches-total-physical-response/146503.article