ANGLO CONGRESS Storytelling with very young learners
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Storytelling with very young learners
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ANGLO CONGRESS Storytelling with very young learners
- 1. Analía Ferraro - Anglo Congress - September 2019 Storytelling with Young Learners
- 2. Aims analyze the role of storytelling with very young learners share with you some tips and ideas on how to go about storytelling
- 3. characteristics of very young learners (earlychildhood)
- 4. very young learners emotions have primary importance and they are unstable and noisy they have a very short attention span and get easily distracted learn mainly through experiences, they learn by doing self-centered yet significantly influenced by others believe that the world thinks and feels as they do they have a profound suspension of desbelief anything else?
- 5. pre literate phase very young learners do not think about the language, they just hear it naturally
- 6. Stories are the most powerful vehicle for instruction as they incorporate the categories and processes used by the child in understanding and interpreting the world: a beginning, a middle, and an end, binary oppositions, absolute meaning, emotional and moral categories. Kieran Egan, contemporary Irish educational philosopher Director of Imaginative Education Research Group the role of stories
- 10. “ … Fully literate persons can only with great difficulty imagine what a primary oral culture would be like, that is, a culture with no knowledge whatsoever of writing or even of the possibility of writing. Try to imagine a culture where no one has ever ‘looked up’ anything. In a primary oral culture, the expression ‘to look up something’ is an empty phrase: it would have no conceivable meaning. Without writing, words as such have no visual presence, even when the objects they represent are visual. Words are sounds. You might ‘call’ them back—’recall’ them. But there is nowhere to ‘look’ for them. They have no focus and no trace (a visual metaphor, showing dependency on writing), not even a trajectory. They are occurrences, events” Ong, Walter J. 1982: 31. Orality and Literacy: The Technologizing of the Word. London: Methuen.
- 11. the role of storytelling in language learning
- 12. scaffolding language acquisition “Scaffolding refers to providing contextual support for meaning through the use of simplified language, teacher modeling, visuals and graphics, cooperative learning and hands-on learning.” Ovando, C., Collier, V., & Combs, M. (2003: 345). Bilingual and ESL classrooms: Teaching multicultural contexts (3rd ed.). Boston: McGraw-Hill
- 13. storytelling It is the art of narrating a tale that reaches back to pre historic times It is the most meaningful and memorable way to approach language … and life!
- 14. we hear a word before we can say it we say a word before we can read it we read a word before we can write it process of language acquistion “Young learners need firm auditory and oralcy skills before they can become proficient readers or writers of the language”. Linse, C. (2005). Young Learners. McGraw-Hill
- 15. develop learners’ receptive skills to train their ears so that they listen (and not just hear) make children identify sounds (that may not necessarily connected with letters; such as onomatopoeic sounds or musical instruments) phonemic awareness
- 18. alligator bee pig pup fly cow bird crow duck hare cat fox rat horse characters in the story
- 19. “ I’ve found a box ” “ I heard ” “ What is that? ” “ We don´t know ” “ It is big ” “ Let me see ” “ Open it up ” “ How? ” “ I´ll use the force ” “ Use a bat ” “ I will try ” “ Good luck ” “ Beware! ” … “ See you later,
- 20. “ I’ve found a box ” , said the fox “ I heard ” , said the bird “ What is that? ” , said the cat “ We don´t know ” , said the crow “ It is big ” , said the pig “ Let me see ” , said the bee “ Open it up ” , said the pup “ How? ” , said the cow “ I´ll use the force ” , said the horse “ Use a bat ” , said the rat “ I will try ” , said the fly “ Good luck ” , said the duck “ Beware! ” , said the hare … “ See you later, alligator! ”
- 21. choose a story … not a stage
- 22. accomodate input
- 23. resorting to language one? worries & worry dolls
- 24. retelling or reading a story?
- 25. anchoring memory recall objects funny faces movements noises and sounds
- 26. “Mr Wiggle & Mr Waggle”
- 28. Stories provide input that facilitate unconscious acquisition, learning does not then rely solely on conscious systematic study (Morgan & Rinvolucri, 1983). With stories, we are involved in learning without being asked to learn. Harmer, J. & Puchta, H (2018) Story-based Language. Helbling. stories and language acquisition
- 29. “Goldilocks and the Three Bears”
- 30. “Goldilocks and the Three Bears” using songs & chants
- 31. pushed output
- 32. comprehensible input is necessary but insufficient, we have to “push” output if we want to nurture the acquisition process (Swain 1985) being pushed to produce language “upgrades” the existing interlanguage system (Swain 1985) stories should act as springboards for re-telling in different ways and students should be able to harvest the language in the stories for their future use (Harmer & Puchta, 2018) input & output
- 33. “the magic moment” reconstruction & appropriation
- 34. “The Three Little Pigs”
- 35. a good combination stories + songs + games Alfie loves his mommy's cookies, and he wants one more than anything! But grabbing for one, fishing for one, and dressing up as a cookie inspector don't seem to work. His mommy says there is a better way. What is it?
- 36. who took the cookie?
- 37. http://bit.ly/2qBDmCU (…) storytelling is more than simply an art – it is a crucial skill for life. The craft (not the talent) of storytelling can be taught – and tested – in the same way as grammar.
- 38. Action Song ♫ Boom Chicka Boom
Editor's Notes
- Young children learn through their senses, actions and movements, so learning English cannot be separated from other areas of learning and development. Providing a context that is appealing and motivating for young children learning English is essential. So while the aim of an activity might be to learn English, it is important that the activity creates a genuine need for communication, so that the children are developing language naturally and in context, as they would their home language. Control of muscular movement Still developing, so a great need for physical exercise Emotions Unstable, feels both insecurity and omnipotence, does not know how to wait. Intelligence Confuses fantasy and reality, totally subjective. Behaviour Keen to communicate, to differentiate himself from others; very passionate; physically aggressive without a motive, interrupts activities to gain attention; insecure at times. UNSTABLE AND NOISY
- Young children learn through their senses, actions and movements, so learning English cannot be separated from other areas of learning and development. Providing a context that is appealing and motivating for young children learning English is essential. So while the aim of an activity might be to learn English, it is important that the activity creates a genuine need for communication, so that the children are developing language naturally and in context, as they would their home language. Control of muscular movement Still developing, so a great need for physical exercise Emotions Unstable, feels both insecurity and omnipotence, does not know how to wait. Intelligence Confuses fantasy and reality, totally subjective. Behaviour Keen to communicate, to differentiate himself from others; very passionate; physically aggressive without a motive, interrupts activities to gain attention; insecure at times. UNSTABLE AND NOISY
- Kieran Egan Similarity between Pre Literate Children and Oral cultures For both of them language is perceived through sound … that is why SOUNDS are extremely attractive for very young learners No written representation of it is accessible https://en.wikipedia.org/wiki/Orality
- Kieran Egan - contemporary Irish educational philosopher Engaging students’ imaginations in learning, and teachers’ imaginations in teaching, is crucial to making knowledge vivid and meaningful, we call this new approach Imaginative Education (IE). We show that the imagination is one of the great workhorses of learning, and how it can be used for all ages and skill levels. The work of The Imaginative Education Research Group is dedicated to showing how learners’ imaginations can be routinely engaged in everyday classrooms http://ierg.ca/ The theory of Imaginative Education is based on five distinctive kinds of understanding that enable people to make sense of the world in different ways https://ierg.ca/about-us/a-brief-guide-to-imaginative-education/ The first kind of understanding, called Somatic understanding , refers to the physical, pre-linguistic way Somatic - from birth till about age 2 mastery of physical activities and a non-verbal appreciation of the world. Mythic - from about ages 3-7 mastery of oral language (involving binary opposites in thinking, metaphors, stereotype and a shared sense of right and wrong) Students can most successfully develop the five kinds of understanding (somatic, mythic, romatic, philosphic and ironic) by acquiring sets of “thinking tools.” In IE, these are called cognitive tools. These tools were invented and developed by our ancestors for making sense of the world and acting more effectively within it. Examples include: • stories that helped people to remember things by making knowledge more engaging • metaphors that enabled people to understand one thing by seeing it in terms of another • binary oppositions like good/bad that helped people to organize and categorize knowledge
- Late 1950´s - Jerome Bruner, cognitive psychologist. http://iteslj.org/Articles/Bradley-Scaffolding/ https://www.edutopia.org/blog/scaffolding-lessons-six-strategies-rebecca-alber NOT RESCUING! Students need teachers to help provide them with just enough support to help them master their learning goals. If you are doing it for them or, in my case, doing all the talking and exerting the most energy, you are rescuing. If you aren’t sure how to scaffold your students’ instruction, let me be of some help! I have a few strategies that are effective for any content area below. Use Graphic Organizers. When teachers use graphic organizers as one of many scaffolding strategies, they are helping students make their thinking concrete. This is like creating training wheels for students. Graphic organizers, charts, and even pictures are perfect as scaffolding tools.
- Storytelling is described as the art of narrating a tale and is regarded as an art form that reaches back to pre historic times when people did not read or write. People began speaking and told stories thousand of year before they learned to read and write. In fact, many fairy tales are rooted in oral tradition . Oral storytelling is an ancient and intimate tradition between the storyteller and their audience. The storyteller and the listeners are physically close, often seated together in a circular fashion.[1] Through the telling of the story people become psychically close, developing a connection to one another through the communal experience. The storyteller reveals, and thus shares, him/her self through his/her telling and the listeners reveal and share themselves through their reception of the story. The intimacy and connection is deepened by the flexibility of oral storytelling which allows the tale to be moulded according to the needs of the audience and/or the location or environment of the telling. Listeners also experience the urgency of a creative process taking place in their presence and they experience the empowerment of being a part of that creative process. Storytelling creates a personal bond with the teller and the audience.
- Kieran Egan deals with similarity between pre literate kids and oral cultures. Language perceived through sound, no visible representation of it. 3:43Skip to 3 minutes and 43 seconds So essentially, learning a language or an additional language at a very young age has the advantage of-- the child is tapping into their natural abilities to hear the sounds of another language. And also I would say that when they're very young, they're not thinking about the language. They're just hearing it naturally, and it's a tool for them. It's a means of communication, so they're not affected by thinking about whether it sounds silly or if it's used in an authentic way. So they're not inhibited. 4:28Skip to 4 minutes and 28 seconds Very young children love playing with sounds. They love hearing new sounds. And when they hear a new song, they like to join in. They move their bodies to the sounds, so they enjoy rhymes and songs. They enjoy the rhythm of a song or a chant. So they're naturally drawn to this. They're fascinated by language, and they're not afraid to play with language. So they have the advantage of, for example, saying all the sounds that an animal makes, or the sounds in the forest, and the sounds that they hear around them, and the sounds of new words, and unfamiliar words from an unfamiliar language to them-- they're not afraid to play with that. 5:10Skip to 5 minutes and 10 seconds Whereas, perhaps, older learners or older children might be more inhibited and thinking, why am I doing this?
- Kieran Egan deals with similarity between pre literate kids and oral cultures. Language perceived through sound, no visible representation of it. 3:43Skip to 3 minutes and 43 seconds So essentially, learning a language or an additional language at a very young age has the advantage of-- the child is tapping into their natural abilities to hear the sounds of another language. And also I would say that when they're very young, they're not thinking about the language. They're just hearing it naturally, and it's a tool for them. It's a means of communication, so they're not affected by thinking about whether it sounds silly or if it's used in an authentic way. So they're not inhibited. 4:28Skip to 4 minutes and 28 seconds Very young children love playing with sounds. They love hearing new sounds. And when they hear a new song, they like to join in. They move their bodies to the sounds, so they enjoy rhymes and songs. They enjoy the rhythm of a song or a chant. So they're naturally drawn to this. They're fascinated by language, and they're not afraid to play with language. So they have the advantage of, for example, saying all the sounds that an animal makes, or the sounds in the forest, and the sounds that they hear around them, and the sounds of new words, and unfamiliar words from an unfamiliar language to them-- they're not afraid to play with that. 5:10Skip to 5 minutes and 10 seconds Whereas, perhaps, older learners or older children might be more inhibited and thinking, why am I doing this?
- PHONEMIC AWARENESS – SOUND PHONICS – SPELLING https://www.youtube.com/watch?v=E3hfgRXegAk&feature=youtu.be
- with good rhyme (alliteration or repetition of a similar sound), rhythm (arrangement of words into a regular sequence) and repetition (of a sound, syllable, word, phrase, line, etc) involving many senses and emotions (emotions drive attention; attention drives learning and memory) with good rhyme (alliteration or repetition of a similar sound), rhythm (arrangement of words into a regular sequence) and repetition (of a sound, syllable, word, phrase, line, etc) involving many senses and emotions (emotions drive attention; attention drives learning and memory)
- https://trans4mind.com/personal_development/mindMastery/anchoring.htm Anchoring (concept that comes from NLP) Anchoring is reminiscent of Pavlov's experiments with dogs. Pavlov sounded a bell as the animal was given food. The animals salivated when they saw the food. After some parings of the bell and the food, the bell alone elicited salivation. Anchors are stimuli that call forth states of mind - thoughts and emotions. For example, touching a knuckle of the left hand could be an anchor. Some anchors are involuntary. So the smell of bread may take you back to your childhood. A tune may remind you of a certain person. A touch can bring back memories and the past states. These anchors work automatically and you may not be aware of the triggers. Establishing an anchor means producing the stimuli (the anchor) when the resourceful state is experienced so that the resourceful state is pared to the anchor. For example, touching the knuckle of the left hand when the resourceful state is experienced to pair the two events. Activating or firing the anchor means producing the anchor after it has been conditioned so that the resourceful state occurs.For example, touching the knuckle of the left hand after the anchor has been established so that this action produced the resourceful state. try out funny faces, movements, noises and sounds to co-construct learning and facilitate memory recall
- … Storying – constructing stories in the mind – is one of the most fundamental means of making meaning and as such, it is an activity that permeates all aspects of learning (Wells, 1986 in Harmer & Puchta, 2018 – page 33) Stories provide input that facilitate unconscious acquisition, learning does not then rely solely on conscious systematic study (Morgan & Rinvolucri, 1983 in Harmer & Puchta, 2018 - page 10)
- Swain (1985) argued that, while input is necessary, it is insufficient. Instead (or as well), the learner needs to produce language, and not only produce, but be “pushed towards the delivery of a message that is not only conveyed, but that is conveyed precisely, coherently and appropriately”. She adds that “being ‘pushed’ in output … is a concept that is parallel to that of the i + 1 of comprehensible input”. One reason for this is “being pushed to produce language puts learners in a better position to notice the ‘gaps’ in their language knowledge”, encouraging them to ‘upgrade’ their existing interlanguage system. And, as they are pushed to produce language in real time and thereby forced to automate low-level operations by incorporating them into higher-level routines, it may also contribute to the development of fluency. When it comes to little kids, we do know comprehension largely exceeds production, kids understand much more than they can actually produce. Comprehensible input is necessary but insufficient, we have to “push” output if we want to nurture the acquisition process. So when I work with pre literate kids, output is definitely “the” magic moment I pursue. As a teacher, there isn’t anything that satisfies me most than when the little ones start producing language. When we do storytelling, for example, my ultermost objective is to help them “reconstruct” the story we work with and eventually, with my help, tell the story themselves. I call this appropriation as I feel they make language their own.
- scaffolding and comprehensible output Comprehensible Output Merrill Swain (1985) has taken Krashen’s idea one step further with her suggestion that students acquire language most meaningfully when they also have the opportunity for comprehensible “output,” or “pushed output.” That is, they need to have a setting in which their attempts at communication are valued and shaped to make them acceptable and understandable, through communicative rather than grammatical means of correction. When learners are pushed to express themselves in the new language, they begin to listen to the grammar of the language, and not just to the vocabulary. Output also allows learners to test hypotheses about the target language grammar (Ellis, 2008). Mounting evidence suggests that direct error correction has little or no influence on the accuracy of messages (Dulay, Burt, and Krashen, 1982). Correction that responds to the meaning of a message, however, has a much greater likelihood of making a difference for the speaker. Frequently correcting grammatical errors and interrupting to prod for accuracy tends to shift students’ attention away from the message being communicated and toward inhibiting their willingness to speak.
- The kids learn proper manners with Alfie as his mommy teaches him to say the magic words.