This document provides guidance on performing choral speaking and harmonic choral speaking. It discusses allowable movements, costumes, and music for each. It also covers suitable group sizes, the importance of practice, and counting techniques. The document then examines sample poems and offers tips for analyzing poems, including determining the poet's intention, identifying shifts in mood, recognizing enjambment, and handling beginnings and endings. Finally, it provides suggestions for varying pitch, pace, volume, using effects like waves and shoulder movements, gradually increasing voices, and using props versus miming.
The Secret Passageways of Writing - TOBELTA Reading & Writing ConferenceMalu Sciamarelli
There is no doubt that writing is one of the most difficult skills for L2 learners to master. The difficulty lies not only in generating and organizing ideas, but also in translating these ideas into an intelligible text. In this session I’m going to present an activity of reading/writing based on “The Shadow of the Wind”, and show that the teacher is responsible for translating all the writing principles into practice and should constantly record, ponder and analyze what they have done in the classroom, and use their reflective experience as a basis for improving their practices.
The Secret Passageways of Writing - TOBELTA Reading & Writing ConferenceMalu Sciamarelli
There is no doubt that writing is one of the most difficult skills for L2 learners to master. The difficulty lies not only in generating and organizing ideas, but also in translating these ideas into an intelligible text. In this session I’m going to present an activity of reading/writing based on “The Shadow of the Wind”, and show that the teacher is responsible for translating all the writing principles into practice and should constantly record, ponder and analyze what they have done in the classroom, and use their reflective experience as a basis for improving their practices.
This presentation is for middle, high, or upper elementary school students. It introduces (and reviews) poetic form and structure, rhythm, meter, word choice, and author's purpose (conveyed by mood and tone). This presentation focuses on sound devices and figurative language and their use and application in poetry. May be accompanied with guided note handout and activities found on www.literacystationinspiration.com.
Abstract
We are language teachers and should be teaching language, not
wasting time watching our learners struggle with pronunciation
which we all know they find boring. Living and working here, we
become inured to and sometimes over-tolerant of substandard
pronunciation, which doesn't necessarily mean sounding like a native
speaker. But how many times have we accepted walk for woke, cut
for cat and berry for very? It's not always easy to diagnose the cause
of our students' pronunciation problems, much less propose an
adequate solution. In this session, for teachers of teens and adults,
we won't be doing any choral drilling but we'll take a look at a range
of non-threatening classroom strategies and techniques that can
help students identify and overcome their pronunciation difficulties.
This workshop looks at a number of accessible ways we can work on
in and out of class to help improve our learners' pronunciation by
providing them activities which we can use in our language classes.
You will find practical in class activities and enjoyable online digital
games to integrate pronunciation teaching to your lessons.
Biographical Details
Ayşegül Liman holds BA (2009) in ELT from Marmara University. She
has been working at Marmara University, English Preparatory School
as an instructor of English. Her interest areas are educational
technology and teacher education.
Fatma Kübra Köşker holds BA (2008) in ELT from Boğaziçi University.
She worked at Aydın University one year and now she has been
working at Marmara University, English Preparatory School as an
instructor of English. Her interest areas are educational technology
and teacher education.
La transidentité, un sujet qui fractionne les FrançaisIpsos France
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Johnny Depp Long Hair: A Signature Look Through the Yearsgreendigital
Johnny Depp, synonymous with eclectic roles and unparalleled acting prowess. has also been a significant figure in fashion and style. Johnny Depp long hair is a distinctive trademark among the various elements that define his unique persona. This article delves into the evolution, impact. and cultural significance of Johnny Depp long hair. exploring how it has contributed to his iconic status.
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Introduction
Johnny Depp is an actor known for his chameleon-like ability to transform into a wide range of characters. from the eccentric Captain Jack Sparrow in "Pirates of the Caribbean" to the introspective Edward Scissorhands. His long hair is one constant throughout his evolving roles and public appearances. Johnny Depp long hair is not a style choice but a significant aspect of his identity. contributing to his allure and mystique. This article explores the journey and significance of Johnny Depp long hair. highlighting how it has become integral to his brand.
The Early Years: A Budding Star with Signature Locks
1980s: The Rise of a Young Heartthrob
Johnny Depp's journey in Hollywood began in the 1980s. with his breakout role in the television series "21 Jump Street." During this time, his hair was short, but it was already clear that Depp had a penchant for unique and edgy styles. By the decade's end, Depp started experimenting with longer hair. setting the stage for a lifelong signature.
1990s: From Heartthrob to Icon
The 1990s were transformative for Johnny Depp his career and personal style. Films like "Edward Scissorhands" (1990) and "Benny & Joon" (1993) saw Depp sporting various hair lengths and styles. But, his long, unkempt hair in "What's Eating Gilbert Grape" (1993) began to draw significant attention. This period marked the beginning of Johnny Depp long hair. which became a defining feature of his image.
The Iconic Roles: Hair as a Character Element
Edward Scissorhands (1990)
In "Edward Scissorhands," Johnny Depp's character had a wild and mane that complemented his ethereal and misunderstood persona. This role showcased how long hair Johnny Depp could enhance a character's depth and mystery.
Captain Jack Sparrow: The Pirate with Flowing Locks
One of Johnny Depp's iconic roles is Captain Jack Sparrow from the "Pirates of the Caribbean" series. Sparrow's long, dreadlocked hair symbolised his rebellious and unpredictable nature. The character's look, complete with beads and trinkets woven into his hair. was a collaboration between Depp and the film's costume designers. This style became iconic and influenced fashion trends and Halloween costumes worldwide.
Other Memorable Characters
Depp's long hair has also been featured in other roles, such as Ichabod Crane in "Sleepy Hollow" (1999). and Roux in "Chocolat" (2000). In these films, his hair added a layer of authenticity and depth to his characters. proving that Johnny Depp with long hair is more than a style—it's a storytelling tool.
Off-Screen Influenc
Is your favorite ring slipping and sliding on your finger? You're not alone. Must Read this Guide on What To Do If Your Ring Is Too Big as shared by the experts of Andrews Jewelers.
From Stress to Success How Oakland's Corporate Wellness Programs are Cultivat...Kitchen on Fire
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Have you ever wondered about the lost city of Atlantis and its profound connection to our modern world? Ruth Elisabeth Hancock’s podcast, “Visions of Atlantis,” delves deep into this intriguing topic in a captivating conversation with Michael Le Flem, author of the enlightening book titled “Visions of Atlantis.” This podcast episode offers a thought-provoking blend of historical inquiry, esoteric wisdom, and contemporary reflections. Let’s embark on a journey of discovery as we unpack the mysteries of ancient civilizations and their relevance to our present existence.
3. Harmonic Choral Speaking
A conductor is allowed.
Absolutely no body movement, gesture, mime
costume or props are allowed.
Suitable grouping patterns are allowed.
Emphasis is on clarity and harmony of speech.
4. Words spoken in unison
Lots of practice helps.
One student, in the centre, can count to three.
The counting has to be in English!
(Not yat, yih, saam.)
11. 1. What was the poet’s intention?
Silly? Serious?
12. 2. Are there any shifts in mood?
The word but generally signifies a
shift in mood.
13. 3. Do lines carry on in meaning?
Students
tend to
stop at the ends
of lines.
Students tend to drop their pitch and volume at
the ends of lines.
14. Enjambment
Be aware of the lines that carry on the
meaning in the poem.
Once Steeple Bumpstead
Had a steeple
Beloved by all
The village people.
15. 4. The beginning and the end are
important parts!
The beginning is generally a narrative voice.
It is neither fast nor slow, but moves along at
an average pace.
The ending generally slows right down to a
stop.
16. from The Steeple (Beginning)
Once Steeple Bumpstead
Had a steeple
Beloved by all
The village people.
It was so fine
And tall and stately,
No wonder they
Admired it greatly.
17. From The Steeple (Ending)
And all because
An angry wizard
Blew Steeple Bumpstead
Folk a blizzard.
18. VARIATION IS EVERYTHING
There are three elements that should be varied.
What do you think they are?
Pitch
Pace
Volume
19. Vary pitch.
Back rows - high pitch.
Front rows - low pitch.
It was so fine HIGH PITCH
And tall and stately,
LOW PITCH
No wonder they
Admired it greatly.
20. from The Three Little Pigs
“Little pig, little pig, let me come in!”
“Not by the hair of my chinny, chin chin!”
“Then I’ll huff and I’ll puff and I’ll blow your
house down.”
And he huffed and he puffed and he blew the
house down. Nar
rati
ve
Vo i
ce
21. from The Steeple
But long ago
An angry wizard
Blew Steeple Bumpstead Which words would
be spoken with
Folk a blizzard; a high pitch?
And suddenly the
Dust went dancing,
And hayracks in the fields
Went prancing.
22. From A Case of Murder
They should not have left him there alone,
Alone that is except for the cat.
He was only nine, not old enough And here?
To be be left alone in a basement flat,
Alone, that is, except for the cat
23. from A Case of Murder
And he took the stick and thrust it in,
Hard and quick in the furry dark,
The black fur squealed and he felt his skin
Prickle with sparks of dry delight.
Then the cat again came into sight,
Shot for the door that wasn’t quite shut,
But the boy, quick too, slammed fast the door:
24. Vary pace.
There are three paces to follow.
What do you think they are?
Slow (caesural or suspensory pause)
Fast
Medium (narrative voice)
25. A caesural pause works!
A natural pause in the middle of a line
adds a bit more drama.
It was so fine Where could
the students pause?
And tall and stately,
No wonder they admired it greatly.
26. Make use of suspensory pauses
Carry enjambed lines forward by …
lengthening the last syllable
increasing inflection
not taking a breath!
27. Faai di la!
And suddenly the
Dust when dancing,
And hayracks in the fields
Went prancing.
The win set windmill
Sails a-whirling,
And pots and pans
And dishes twirling;
29. It blew the thrifty
Mean and lazy,
Till one and all Which words could
be spoken at a
Were nearly crazy, higher volume?
And one and all,
Both dull and clever,
Cried ‘Lawksamussy!
Well, I never!’
30. SPECIAL EFFECTS
There are many, many, many things one can
do to bring the words alive.
“You pulled everything out of your sleeve.”
31. Cause a Wave.
Make a wave with the voices to show walking
from one place to another, or something
flying across the sky, or something falling.
32. from A Case of Murder
Then the cat again came into sight,
Shot for the door that wasn’t quite shut,
33. from The Steeple
The steeple once
So tall and splendid,
A heap of rubbish
Had descended;
34. Drop and Raise the Shoulders
To show sadness, have all students drop their
shoulders.
35. from The Steeple
And poked their puzzled,
Anxious faces,
From queer and un-
Expected places. RAISE SHOULDERS
But all at once the storm departed DROP SHOULDERS
As quick or quicker
Than it started;
36. More and More Voices
What’s the easiest way to create this effect?
37. GROUPING
TEACHER
front
1 2 3 4
back
RIGHT LEFT
38. Add more and more voices
Start with 2 or 3 students, and keep adding 10
more.
TEACHER
39. Add more and more voices
And dumped the load of heavy fur
In the spidery cupboard under the stair
Where it’s been for years, and though it died
It’s grown in that cupboard and its hot low purr
Grows slowly louder year by year;
40. These lines will get progressively
louder.
TEACHER
And though
it died
And its hot Grows slowly
year by year
low purr louder
It’s grown
in that cupboard
41. Make other sounds besides words.
Add ….
a sigh
a meow
breathy sounds
42. From The Steeple
It caught the farmer’s
Wife so busy, What sounds
could be added?
And round she went
Till she was dizzy.
43. Students can lean forward when they
speak.
The beginning of A Case of Murder
They should not have left him there alone,
Alone that is except for the cat.
He was only nine, not old enough
To be left alone in a basement flat,
Alone, that is, except for the cat MOVE FORWARD
44. At the end of A Case of Murder
When the cupboard swells and all sides split
And the huge black cat pads out of it.
45. from The Steeple
And poked their puzzled,
Where could students
Anxious faces, move forward?
From queer and un-
Expected places.
46. Faces should be seen at all times
Sometimes props, like witches hats, signs, an
umbrella, get in the way.
47. Robotic movements are a no-no!
The movement should start just before the
students begin speaking, and should end
after the students have spoken.
Students should slowly bring their bodies back
to the original position.
49. Go solo.
Use solo voices sparingly.
The lone voice should be confident and loud.
A solo voice could be used to show something
singular, or a pronouncement.
50. from The Steeple
And tales were told,
And heads were shaken,
What could
To see a village be spoken
in solo?
So forsaken;
51. Props vs miming
Props can get quite clumsy.
Miming is easy.
If you use props, make them bigger than actual
size.
52. NOW YOU TRY IT!
Read The Bookshop by Judith Nicholls
Determine:
1. The poet’s intention
2. The shifts in mood
3. Which lines carry on
4. How to deal with the beginning and ending