Abstract
The oral tradition of storytelling has served to stir the imagination of human kind since time immemorial yet it has been all but lost in our dry, isolationistic digital age. We need to revive the art of storytelling for all, as an essential art form and as a means of emotional and affective communication. This theopractical presentation considers storytelling techniques for teachers and for young learners. Practical strategies will be borrowed from the world of educational drama to develop both vocal and body expression, laying the emphasis on pacing, rhythm and volume, mime, facial gesture, and action. No great resources will be suggested but an understanding of the concept of “The Speaking Body in the Empty Space” will be seen as essential, with the Teacher and the Student being the real resources. Teachers should leave with lots of practical ideas to use in their classrooms when term starts.
Creating Spheres of Interculturality through Paerformative ActivitySusan Hillyard
Performativity will be shown to replace more abstract conceptions of language as a structure of meaning or as a symbol system and one way of introducing the concept of spheres of interculturality into ELT. The emphasis will be on the role of language in the concrete, particular transactions of the speaking body in specific contexts and in specific moments of time. It focuses on language as action, and also on meaning as the effect of embodied processes of meaning-making.
This workshop explores the need to use English, with above beginners, as a global language to examine global issues through the practice of critical, comparative, and creative thinking skills related to social values. The framework is based on Robert Fisher’s language learning model of the interrelatedness of reading, writing, listening, speaking, input, output and metacognition. In this awareness raising session the basic tenet underpinning the action is We are all the Same, We are all Different with the emphasis on teaching for diversity. Questioning ourselves comes before questioning the students, and changing our perceptions is a necessary first step. There will be some theory and plenty of activity.
This experiential workshop considers dramatic techniques and games to help students to enjoy literature, to understand more and to develop competent literacy skills. The aim is to offer teachers the tools to lift the text off the page so that it becomes "live" for the students in a meaningful fashion. The kinaesthetic approach, collaborative group work, thematic studies, presentation techniques and interactive learning and teaching will be modelled. By the end of the session the participants should have new ways of approaching literature classes and a number of adaptable practical techniques for classroom use whatever the material or age of the students. The teachers should be able to make literature live for their students.
PLCs for a Change? Setting up and Maintaining a Professional Learning Communi...Susan Hillyard
In this workshop we will explore the meaning of “Professional Learning Communities”, analyse a number of models and consider the value of planning and launching a PLC in the context of the ICPNA school environment. We will define PLCs and why they are considered to be important, basing some of these concepts on recent theories of connectivism and trust. Leadership will be seen as a shared experience in a change-ready school. The skills for motivating and inspiring a whole school culture through reference to Maslow and McGregor will be examined while the concept of both Heads and Teachers as learners in their own right will be stressed. Finally, strategies for launching a PLC in your school will be discussed.
This document discusses using drama to teach English to students with diverse needs. It describes teaching English in remedial schools, hospital wards, orphanages, and home visits to students with disabilities, diseases, poverty, behavioral issues, and lack of prior education. Drama is presented as a holistic teaching method that develops students socially, physically, intellectually, creatively, and emotionally. It engages multiple intelligences and learning styles. The benefits of drama for language learning, empowerment, fluency, literacy, and thinking are outlined. Drama techniques are described for teaching pronunciation, body language, interaction, role-playing, and making language fun and meaningful.
This is a summary of an essentially practical session for dealing with discipline differences in the middle years. Drama is used as a means to train students in conflict resolution techniques and explore their own emotions and reactions. Fight techniques are developed, confrontations improvised and characters in crowd scenes role played.
Introduction: Are You a Manager or a Leader?Susan Hillyard
This introductory workshop for coordinators and heads of departments, compares new leadership skills with old management skills in the administrative office. We will look at existing structures and consider the current calls for change in educational settings. We will analyse the needs of organizations, the nature of the change process and question to what extent you and your school are on the change-ready paradigm. We will examine a number of theories through the reflective process and look at the notion of creative leadership.The thrust is on forging sound relationships through listening, developing a system of effective communication and modelling natural authority rather than authority by position.
This presentation explores the varieties of Content and Language Integrated Learning (CLIL) programmes that go under this umbrella term and explains the original four Cs of CLIL: content, communication, culture and cognition. The advantages and disadvantages of implementing a CLIL approach in the curriculum will be compared and some of the learning strategies to develop the cognitive domain while teaching a foreign language will be explained. The changes required in terms of professional development for teachers and changing roles for students will be explored and the efficacy of introducing a CLIL approach for bilingualism in a globalised world will be promoted.
Creating Spheres of Interculturality through Paerformative ActivitySusan Hillyard
Performativity will be shown to replace more abstract conceptions of language as a structure of meaning or as a symbol system and one way of introducing the concept of spheres of interculturality into ELT. The emphasis will be on the role of language in the concrete, particular transactions of the speaking body in specific contexts and in specific moments of time. It focuses on language as action, and also on meaning as the effect of embodied processes of meaning-making.
This workshop explores the need to use English, with above beginners, as a global language to examine global issues through the practice of critical, comparative, and creative thinking skills related to social values. The framework is based on Robert Fisher’s language learning model of the interrelatedness of reading, writing, listening, speaking, input, output and metacognition. In this awareness raising session the basic tenet underpinning the action is We are all the Same, We are all Different with the emphasis on teaching for diversity. Questioning ourselves comes before questioning the students, and changing our perceptions is a necessary first step. There will be some theory and plenty of activity.
This experiential workshop considers dramatic techniques and games to help students to enjoy literature, to understand more and to develop competent literacy skills. The aim is to offer teachers the tools to lift the text off the page so that it becomes "live" for the students in a meaningful fashion. The kinaesthetic approach, collaborative group work, thematic studies, presentation techniques and interactive learning and teaching will be modelled. By the end of the session the participants should have new ways of approaching literature classes and a number of adaptable practical techniques for classroom use whatever the material or age of the students. The teachers should be able to make literature live for their students.
PLCs for a Change? Setting up and Maintaining a Professional Learning Communi...Susan Hillyard
In this workshop we will explore the meaning of “Professional Learning Communities”, analyse a number of models and consider the value of planning and launching a PLC in the context of the ICPNA school environment. We will define PLCs and why they are considered to be important, basing some of these concepts on recent theories of connectivism and trust. Leadership will be seen as a shared experience in a change-ready school. The skills for motivating and inspiring a whole school culture through reference to Maslow and McGregor will be examined while the concept of both Heads and Teachers as learners in their own right will be stressed. Finally, strategies for launching a PLC in your school will be discussed.
This document discusses using drama to teach English to students with diverse needs. It describes teaching English in remedial schools, hospital wards, orphanages, and home visits to students with disabilities, diseases, poverty, behavioral issues, and lack of prior education. Drama is presented as a holistic teaching method that develops students socially, physically, intellectually, creatively, and emotionally. It engages multiple intelligences and learning styles. The benefits of drama for language learning, empowerment, fluency, literacy, and thinking are outlined. Drama techniques are described for teaching pronunciation, body language, interaction, role-playing, and making language fun and meaningful.
This is a summary of an essentially practical session for dealing with discipline differences in the middle years. Drama is used as a means to train students in conflict resolution techniques and explore their own emotions and reactions. Fight techniques are developed, confrontations improvised and characters in crowd scenes role played.
Introduction: Are You a Manager or a Leader?Susan Hillyard
This introductory workshop for coordinators and heads of departments, compares new leadership skills with old management skills in the administrative office. We will look at existing structures and consider the current calls for change in educational settings. We will analyse the needs of organizations, the nature of the change process and question to what extent you and your school are on the change-ready paradigm. We will examine a number of theories through the reflective process and look at the notion of creative leadership.The thrust is on forging sound relationships through listening, developing a system of effective communication and modelling natural authority rather than authority by position.
This presentation explores the varieties of Content and Language Integrated Learning (CLIL) programmes that go under this umbrella term and explains the original four Cs of CLIL: content, communication, culture and cognition. The advantages and disadvantages of implementing a CLIL approach in the curriculum will be compared and some of the learning strategies to develop the cognitive domain while teaching a foreign language will be explained. The changes required in terms of professional development for teachers and changing roles for students will be explored and the efficacy of introducing a CLIL approach for bilingualism in a globalised world will be promoted.
This document discusses using effective and affective literature in English language teaching. It begins by asking questions about key concepts like what is real, authentic, effective and affective. It then discusses considerations for the Argentine context and possibilities for exploiting literature in exams. Various strategies are proposed for using literature, including keeping reading diaries, storytelling projects, drama activities and asking real questions in circle time. Websites with related resources are also listed.
Drama can be used as a bridge to literacy. It engages students through active role-taking in simulated situations. Drama allows students to learn in multiple ways that align with different learning styles such as visual, auditory, and kinesthetic. It also engages the four language skills of reading, writing, speaking and listening in a cognitively demanding context that provides meaning. Drama produces multiple meanings through enactment and interpretation, developing higher-order thinking.
1. The document discusses the power of the arts to empower students and build confidence through techniques like breathing exercises, visualization, and performance arts.
2. It references studies showing that arts education can develop skills like creativity, identity, cooperation, and leadership.
3. The Freedom Theatre in Jenin aims to empower Palestinian youth through theatre by providing opportunities to develop skills and confidence to challenge their situation.
This document discusses using drama to see the world through other perspectives. It notes how drama can help students understand social situations and explore human intentions. Various drama techniques are described like context building, narrative action, and reflective action. The document also discusses theories related to humanism, aesthetics, and empowering students. It advocates for moving away from a "banking" model of education towards one where students can construct their own understandings. Overall, the document promotes using drama to cultivate empathy and self-actualization in students.
It has become widely understood that effective language learning involves more than the four integrated skills of ELT. The missing link is the fifth dimension ........that of teaching thinking. This PIPP will explore the cognitive processes employed by learners in a drama lesson and see how they relate to the development of higher order thinking skills. Reference will be made to Fisher's model of language learning, Heathcote's premise that drama IS education, Baldwin’s cross reference chart and Cummins´ quadrant of cognitive processes. There will be some theory and lots of activity.
Dramathink: Teaching Thinking Skills through DramaSusan Hillyard
This document discusses using drama to teach thinking skills. It provides (1) a framework for different levels of cognitive processes from simple to complex, (2) contexts that support language development, and (3) parallels between high quality thinking and high quality drama, noting they both involve complexity, multiple solutions, interpretation, and uncertainty rather than routine processes.
Este documento describe la larga tradición del uso de procesos teatrales en la educación inglesa y su expansión a nivel mundial. Resalta los beneficios del teatro dramático para el aprendizaje y la enseñanza de idiomas, y cómo promueve la comunicación, expresión, interacción y aprendizaje multisensorial. También destaca la fundamentación del teatro dramático como herramienta pedagógica holística y su reconocimiento a nivel de políticas educativas en países como España.
Games for the 21st Century Creative Learner: Use it or Lose it!Susan Hillyard
This presentation, on creative games in the language classroom, will explore teacher beliefs about the nature of creativity, break down myths about creativity being difficult and only for the gifted few and will suggest strategies for getting students started on the process of creative speaking. There will be lots of strategies modelled for teachers to find their creative selves and to tap into the creative nature of all students. This will be a reflective plenary which will offer teachers food for thought for changing their classroom practice.
This document discusses the use of drama in education. It defines drama as role-playing situations that aim to create discovery through pretending rather than focusing on characters. Drama puts students in active roles where they can develop communication skills and test their understanding through improvisation. The document contrasts drama with theatre, noting that drama is student-centered and focuses on the learning process rather than a final product. It emphasizes that drama allows students to employ their life experiences and work together to understand concepts on a deeper level.
Story sacks for Teaching English through Drama in the Primary ClassSusan Hillyard
This presentation shows the development of a team of teachers in Special Education in Argentina in designing a StorySack each to teach English through Drama for inclusion. It explores the rationale and shows the contents of the StorySack including types of activities used in ELT.
This workshop explores the need to use English, with above beginners, as a global language to examine global issues through the practice of critical, comparative, and creative thinking skills related to social values. The framework is based on Robert Fisher’s language learning model of the inter-relatedness of reading, writing, listening, speaking, input, output and metacognition. In this awareness raising session the basic tenet underpinning the action is We are all the Same, We are all Different with the emphasis on teaching for diversity. Questioning ourselves comes before questioning the students, and changing our perceptions is a necessary first step. There will be some theory and plenty of activity.
This document provides information about a workshop on Professional Learning Communities (PLCs) led by Susan Hillyard. The workshop will explore definitions of PLCs and models of PLCs. It will discuss the importance of PLCs and how they can be implemented in schools. Exercises are included to help participants understand concepts like connectivism, leadership, motivation theories, and strategies for launching a PLC. Questions are provided to guide discussion and reflection on topics such as the need for change, PLC structures, and participant needs, knowledge and goals regarding PLCs.
English in Action: Teaching English through Drama to SEN StudentsSusan Hillyard
This document discusses using educational drama to teach English to students with learning difficulties in Buenos Aires, Argentina. It provides background on how drama has been used successfully in language education and outlines the conception of a project called "English in Action" which uses drama techniques. The theoretical frameworks discussed include Jarvis' model of learning, Fisher's Triangle of Language Learning, and Cummins' notions of context and cognitive demand. Research supporting the efficacy of drama for language learning is presented.
Use it or Lose it! Games for the Creative 21st Century LearnerSusan Hillyard
This document provides information about a presentation by Susan Hillyard on using creative games in the language classroom. The presentation will explore teacher beliefs about creativity, challenge myths that creativity is difficult and only for the gifted, and provide strategies for getting students to develop speaking skills through using language creatively. The emphasis will be on competence in speaking through practicing new structures, vocabulary, pronunciation, and communication in a relaxed way. Cooperation among students will also be stressed as important for the 21st century learner. The workshop portion of the presentation will have teachers practicing sample creative activities.
Introduction: Are you a Manager or a Leader?Susan Hillyard
This document outlines an upcoming workshop that compares leadership skills with traditional management skills. The workshop will examine theories of change management and leadership styles. Participants will engage in reflective exercises exploring McGregor's Theory X and Theory Y, models of innovation adoption, and the importance of trust in organizations. The goal is to help coordinators and department heads analyze their school's readiness for change and determine how to forge effective relationships through communication and natural authority.
Content with your Content? Why Teach Global Issues in ELT?Susan Hillyard
The first part of this paper aims to examine the concept of the globalised world from a number of different angles and poses questions related to the relevance and validity of the curriculum currently presented to EFL students. A number of methodological suggestions related to the field of education with a big E will be observed such as motivation, metacognition, learner autonomy, use of widely accessible resources and “The University of Life”. Thus the role of the teacher in ELT will shift towards that of faclitator and educator, raising awareness in self and in students of the need to become global citizens who are lifelong learners and putting the learner at the centre of the educational process. The second part of this paper examines the overriding factor of using English as a global language to examine global issues through the practice of critical, comparative and creative thinking skills. The framework for the paper is based on Robert Fisher’s thinking skills language learning model.
The document discusses thematic instruction for teaching English language learners. Thematic instruction involves organizing learning activities around a central topic or theme. It makes education more interesting and relevant by bringing the real world into the classroom. Thematic instruction also promotes students' linguistic and cognitive development. The document provides examples of thematic units, such as ones focused on seasons, pirates, or inventions. It emphasizes using thematic instruction to integrate literacy skills across subjects. Teachers can scaffold ideas by building on previous themes.
This document discusses using effective and affective literature in English language teaching. It begins by asking questions about key concepts like what is real, authentic, effective and affective. It then discusses considerations for the Argentine context and possibilities for exploiting literature in exams. Various strategies are proposed for using literature, including keeping reading diaries, storytelling projects, drama activities and asking real questions in circle time. Websites with related resources are also listed.
Drama can be used as a bridge to literacy. It engages students through active role-taking in simulated situations. Drama allows students to learn in multiple ways that align with different learning styles such as visual, auditory, and kinesthetic. It also engages the four language skills of reading, writing, speaking and listening in a cognitively demanding context that provides meaning. Drama produces multiple meanings through enactment and interpretation, developing higher-order thinking.
1. The document discusses the power of the arts to empower students and build confidence through techniques like breathing exercises, visualization, and performance arts.
2. It references studies showing that arts education can develop skills like creativity, identity, cooperation, and leadership.
3. The Freedom Theatre in Jenin aims to empower Palestinian youth through theatre by providing opportunities to develop skills and confidence to challenge their situation.
This document discusses using drama to see the world through other perspectives. It notes how drama can help students understand social situations and explore human intentions. Various drama techniques are described like context building, narrative action, and reflective action. The document also discusses theories related to humanism, aesthetics, and empowering students. It advocates for moving away from a "banking" model of education towards one where students can construct their own understandings. Overall, the document promotes using drama to cultivate empathy and self-actualization in students.
It has become widely understood that effective language learning involves more than the four integrated skills of ELT. The missing link is the fifth dimension ........that of teaching thinking. This PIPP will explore the cognitive processes employed by learners in a drama lesson and see how they relate to the development of higher order thinking skills. Reference will be made to Fisher's model of language learning, Heathcote's premise that drama IS education, Baldwin’s cross reference chart and Cummins´ quadrant of cognitive processes. There will be some theory and lots of activity.
Dramathink: Teaching Thinking Skills through DramaSusan Hillyard
This document discusses using drama to teach thinking skills. It provides (1) a framework for different levels of cognitive processes from simple to complex, (2) contexts that support language development, and (3) parallels between high quality thinking and high quality drama, noting they both involve complexity, multiple solutions, interpretation, and uncertainty rather than routine processes.
Este documento describe la larga tradición del uso de procesos teatrales en la educación inglesa y su expansión a nivel mundial. Resalta los beneficios del teatro dramático para el aprendizaje y la enseñanza de idiomas, y cómo promueve la comunicación, expresión, interacción y aprendizaje multisensorial. También destaca la fundamentación del teatro dramático como herramienta pedagógica holística y su reconocimiento a nivel de políticas educativas en países como España.
Games for the 21st Century Creative Learner: Use it or Lose it!Susan Hillyard
This presentation, on creative games in the language classroom, will explore teacher beliefs about the nature of creativity, break down myths about creativity being difficult and only for the gifted few and will suggest strategies for getting students started on the process of creative speaking. There will be lots of strategies modelled for teachers to find their creative selves and to tap into the creative nature of all students. This will be a reflective plenary which will offer teachers food for thought for changing their classroom practice.
This document discusses the use of drama in education. It defines drama as role-playing situations that aim to create discovery through pretending rather than focusing on characters. Drama puts students in active roles where they can develop communication skills and test their understanding through improvisation. The document contrasts drama with theatre, noting that drama is student-centered and focuses on the learning process rather than a final product. It emphasizes that drama allows students to employ their life experiences and work together to understand concepts on a deeper level.
Story sacks for Teaching English through Drama in the Primary ClassSusan Hillyard
This presentation shows the development of a team of teachers in Special Education in Argentina in designing a StorySack each to teach English through Drama for inclusion. It explores the rationale and shows the contents of the StorySack including types of activities used in ELT.
This workshop explores the need to use English, with above beginners, as a global language to examine global issues through the practice of critical, comparative, and creative thinking skills related to social values. The framework is based on Robert Fisher’s language learning model of the inter-relatedness of reading, writing, listening, speaking, input, output and metacognition. In this awareness raising session the basic tenet underpinning the action is We are all the Same, We are all Different with the emphasis on teaching for diversity. Questioning ourselves comes before questioning the students, and changing our perceptions is a necessary first step. There will be some theory and plenty of activity.
This document provides information about a workshop on Professional Learning Communities (PLCs) led by Susan Hillyard. The workshop will explore definitions of PLCs and models of PLCs. It will discuss the importance of PLCs and how they can be implemented in schools. Exercises are included to help participants understand concepts like connectivism, leadership, motivation theories, and strategies for launching a PLC. Questions are provided to guide discussion and reflection on topics such as the need for change, PLC structures, and participant needs, knowledge and goals regarding PLCs.
English in Action: Teaching English through Drama to SEN StudentsSusan Hillyard
This document discusses using educational drama to teach English to students with learning difficulties in Buenos Aires, Argentina. It provides background on how drama has been used successfully in language education and outlines the conception of a project called "English in Action" which uses drama techniques. The theoretical frameworks discussed include Jarvis' model of learning, Fisher's Triangle of Language Learning, and Cummins' notions of context and cognitive demand. Research supporting the efficacy of drama for language learning is presented.
Use it or Lose it! Games for the Creative 21st Century LearnerSusan Hillyard
This document provides information about a presentation by Susan Hillyard on using creative games in the language classroom. The presentation will explore teacher beliefs about creativity, challenge myths that creativity is difficult and only for the gifted, and provide strategies for getting students to develop speaking skills through using language creatively. The emphasis will be on competence in speaking through practicing new structures, vocabulary, pronunciation, and communication in a relaxed way. Cooperation among students will also be stressed as important for the 21st century learner. The workshop portion of the presentation will have teachers practicing sample creative activities.
Introduction: Are you a Manager or a Leader?Susan Hillyard
This document outlines an upcoming workshop that compares leadership skills with traditional management skills. The workshop will examine theories of change management and leadership styles. Participants will engage in reflective exercises exploring McGregor's Theory X and Theory Y, models of innovation adoption, and the importance of trust in organizations. The goal is to help coordinators and department heads analyze their school's readiness for change and determine how to forge effective relationships through communication and natural authority.
Content with your Content? Why Teach Global Issues in ELT?Susan Hillyard
The first part of this paper aims to examine the concept of the globalised world from a number of different angles and poses questions related to the relevance and validity of the curriculum currently presented to EFL students. A number of methodological suggestions related to the field of education with a big E will be observed such as motivation, metacognition, learner autonomy, use of widely accessible resources and “The University of Life”. Thus the role of the teacher in ELT will shift towards that of faclitator and educator, raising awareness in self and in students of the need to become global citizens who are lifelong learners and putting the learner at the centre of the educational process. The second part of this paper examines the overriding factor of using English as a global language to examine global issues through the practice of critical, comparative and creative thinking skills. The framework for the paper is based on Robert Fisher’s thinking skills language learning model.
The document discusses thematic instruction for teaching English language learners. Thematic instruction involves organizing learning activities around a central topic or theme. It makes education more interesting and relevant by bringing the real world into the classroom. Thematic instruction also promotes students' linguistic and cognitive development. The document provides examples of thematic units, such as ones focused on seasons, pirates, or inventions. It emphasizes using thematic instruction to integrate literacy skills across subjects. Teachers can scaffold ideas by building on previous themes.
THE SACRIFICE HOW PRO-PALESTINE PROTESTS STUDENTS ARE SACRIFICING TO CHANGE T...indexPub
The recent surge in pro-Palestine student activism has prompted significant responses from universities, ranging from negotiations and divestment commitments to increased transparency about investments in companies supporting the war on Gaza. This activism has led to the cessation of student encampments but also highlighted the substantial sacrifices made by students, including academic disruptions and personal risks. The primary drivers of these protests are poor university administration, lack of transparency, and inadequate communication between officials and students. This study examines the profound emotional, psychological, and professional impacts on students engaged in pro-Palestine protests, focusing on Generation Z's (Gen-Z) activism dynamics. This paper explores the significant sacrifices made by these students and even the professors supporting the pro-Palestine movement, with a focus on recent global movements. Through an in-depth analysis of printed and electronic media, the study examines the impacts of these sacrifices on the academic and personal lives of those involved. The paper highlights examples from various universities, demonstrating student activism's long-term and short-term effects, including disciplinary actions, social backlash, and career implications. The researchers also explore the broader implications of student sacrifices. The findings reveal that these sacrifices are driven by a profound commitment to justice and human rights, and are influenced by the increasing availability of information, peer interactions, and personal convictions. The study also discusses the broader implications of this activism, comparing it to historical precedents and assessing its potential to influence policy and public opinion. The emotional and psychological toll on student activists is significant, but their sense of purpose and community support mitigates some of these challenges. However, the researchers call for acknowledging the broader Impact of these sacrifices on the future global movement of FreePalestine.
Philippine Edukasyong Pantahanan at Pangkabuhayan (EPP) CurriculumMJDuyan
(𝐓𝐋𝐄 𝟏𝟎𝟎) (𝐋𝐞𝐬𝐬𝐨𝐧 𝟏)-𝐏𝐫𝐞𝐥𝐢𝐦𝐬
𝐃𝐢𝐬𝐜𝐮𝐬𝐬 𝐭𝐡𝐞 𝐄𝐏𝐏 𝐂𝐮𝐫𝐫𝐢𝐜𝐮𝐥𝐮𝐦 𝐢𝐧 𝐭𝐡𝐞 𝐏𝐡𝐢𝐥𝐢𝐩𝐩𝐢𝐧𝐞𝐬:
- Understand the goals and objectives of the Edukasyong Pantahanan at Pangkabuhayan (EPP) curriculum, recognizing its importance in fostering practical life skills and values among students. Students will also be able to identify the key components and subjects covered, such as agriculture, home economics, industrial arts, and information and communication technology.
𝐄𝐱𝐩𝐥𝐚𝐢𝐧 𝐭𝐡𝐞 𝐍𝐚𝐭𝐮𝐫𝐞 𝐚𝐧𝐝 𝐒𝐜𝐨𝐩𝐞 𝐨𝐟 𝐚𝐧 𝐄𝐧𝐭𝐫𝐞𝐩𝐫𝐞𝐧𝐞𝐮𝐫:
-Define entrepreneurship, distinguishing it from general business activities by emphasizing its focus on innovation, risk-taking, and value creation. Students will describe the characteristics and traits of successful entrepreneurs, including their roles and responsibilities, and discuss the broader economic and social impacts of entrepreneurial activities on both local and global scales.
How to Manage Reception Report in Odoo 17Celine George
A business may deal with both sales and purchases occasionally. They buy things from vendors and then sell them to their customers. Such dealings can be confusing at times. Because multiple clients may inquire about the same product at the same time, after purchasing those products, customers must be assigned to them. Odoo has a tool called Reception Report that can be used to complete this assignment. By enabling this, a reception report comes automatically after confirming a receipt, from which we can assign products to orders.
Temple of Asclepius in Thrace. Excavation resultsKrassimira Luka
The temple and the sanctuary around were dedicated to Asklepios Zmidrenus. This name has been known since 1875 when an inscription dedicated to him was discovered in Rome. The inscription is dated in 227 AD and was left by soldiers originating from the city of Philippopolis (modern Plovdiv).
A Visual Guide to 1 Samuel | A Tale of Two HeartsSteve Thomason
These slides walk through the story of 1 Samuel. Samuel is the last judge of Israel. The people reject God and want a king. Saul is anointed as the first king, but he is not a good king. David, the shepherd boy is anointed and Saul is envious of him. David shows honor while Saul continues to self destruct.
CapTechTalks Webinar Slides June 2024 Donovan Wright.pptxCapitolTechU
Slides from a Capitol Technology University webinar held June 20, 2024. The webinar featured Dr. Donovan Wright, presenting on the Department of Defense Digital Transformation.
3. ““After nourishment, shelterAfter nourishment, shelter
and companionship, storiesand companionship, stories
are the thing we need mostare the thing we need most
in the world.” in the world.”
Philip Pullman
4. ????????? Think Time???????????????? Think Time???????
The Speaking Body in theThe Speaking Body in the
Empty SpaceEmpty Space
Peter BrooksPeter Brooks
5. Resources required…Resources required…
Nothing moreNothing more
than the resourcesthan the resources
the Teacher andthe Teacher and
the Studentsthe Students
bring to thebring to the
Empty SpaceEmpty Space
( see HO…..B rubrics)( see HO…..B rubrics)
6. Typical elements of a Trad FairyTypical elements of a Trad Fairy
StoryStory
Hero/heroineHero/heroine
Anti H or HAnti H or H
Others like prince/ess, wicked witch, monster,Others like prince/ess, wicked witch, monster,
Animals or objects that speak ( personification)Animals or objects that speak ( personification)
Setting…..forest, haunted house, sea, castle…Setting…..forest, haunted house, sea, castle…
Plot….conflictPlot….conflict
Theme…..universal/moral/message/twist in theTheme…..universal/moral/message/twist in the
taletale
7. ?????Talk Time??????????Talk Time?????
Tell your partner your story as a teacher. Include:Tell your partner your story as a teacher. Include:
When you started…When you started…
Why you started….Why you started….
Great moments…..Great moments…..
Tough moments…Tough moments…
Where you have arrived todayWhere you have arrived today
Where you hope to be in some years etc etcWhere you hope to be in some years etc etc
8. Tell the Story BackTell the Story Back
Use the elements we discussed andUse the elements we discussed and
Use the third person singularUse the third person singular
Tell the story back with theTell the story back with the
archetypical elementsarchetypical elements
9. Stories come in all shapes...Stories come in all shapes...
FantasyFantasy
FactualFactual
HorrorHorror
RomanticRomantic
LegendLegend
HistoricalHistorical
CulturalCultural
ComicComic
10. 7 Characteristics to Exploit7 Characteristics to Exploit
1.1. A central premise.A central premise.
2. Strong three-dimensional characters who change2. Strong three-dimensional characters who change
over time.over time.
3. A confined space -- often referred to as a crucible.3. A confined space -- often referred to as a crucible.
4. A protagonist who is on some sort of quest.4. A protagonist who is on some sort of quest.
5. An antagonist of some sort bent on stopping the5. An antagonist of some sort bent on stopping the
hero. hero.
6. An arch in everything -- everything is getting better6. An arch in everything -- everything is getting better
or worse.or worse.
7. And perhaps most important -- Conflict.7. And perhaps most important -- Conflict.
11. Why Stories work in ELTWhy Stories work in ELT
rhythmrhythm
rhymerhyme
repetitionrepetition
rousingrousing
responseresponse
ritualritual
12. WHY?WHY?
The SPICE of ELTThe SPICE of ELT
S-social developmentS-social development
P-physical developmentP-physical development
I-intellectual developmentI-intellectual development
C-creative developmentC-creative development
E-emotional developmentE-emotional development
13. Ways in to StorytellingWays in to Storytelling
Playing with BreathingPlaying with Breathing
Playing with Sounds …..abstract andPlaying with Sounds …..abstract and
meaningfulmeaningful
Using rhymes/ alliteration/initial /endingUsing rhymes/ alliteration/initial /ending
soundssounds
Adding movement/tableauxAdding movement/tableaux
Singing…… especially Action SongsSinging…… especially Action Songs
Chanting/rappingChanting/rapping
Reader’s TheatreReader’s Theatre
15. Sounds Fun!Sounds Fun!
final /m/ Tom, Tim, Pam, Mumfinal /m/ Tom, Tim, Pam, Mum
>>>>>>>>>>>>>>>>>>>>
/b/ I have a ball bouncing, bouncing, (Big,/b/ I have a ball bouncing, bouncing, (Big,
small, high, low)small, high, low)
I have a balloonI have a balloon, blow it up…., blow it up….
/d/Daisy Daisy digs in the dell: (with her/d/Daisy Daisy digs in the dell: (with her
hands, with her elbow, with her nose!)hands, with her elbow, with her nose!)
16. •/th/ My mother and my father,
My sister and my brother
The dog, the cat, the baby
They are my family (Adams)
• /t/ Tick tock(x2),
Time to go to bed
Tick tock (x2),
No time to talk
It’s time to go to bed
• /th/ Every Thursday, I am thirsty. In my little throat. Thirsty!
Thirsty! Thirsty! Thirsty! ………………… Thank you!
• /v/Vicky Vasquez vanishes in Venice/ Victor the Vampire
votes for Vipers
17. Stock phrases…..Stock phrases…..
Once upon a time……Once upon a time……
It was a cold dark winter’s night…..It was a cold dark winter’s night…..
And as she skipped through the green, greenAnd as she skipped through the green, green
forest…….forest…….
A dark, gloomy castle rose up into the nightA dark, gloomy castle rose up into the night
sky…..sky…..
And they lived happily ever after….And they lived happily ever after….
And they never went into the forest again…..And they never went into the forest again…..
18. RefrainsRefrains
I’m a troll folderol…..I’m a troll folderol…..
What big eyes you’ve got, Grandma…What big eyes you’ve got, Grandma…
And it was too salty…And it was too salty…
Trip, trap, trip, trapTrip, trap, trip, trap
Jigglety jolt, x 3, Up the hill, down the hill andJigglety jolt, x 3, Up the hill, down the hill and
through the valleythrough the valley
Mirror, mirror on the wall…..Mirror, mirror on the wall…..
20. Rap a story! Mootoo and DeclanRap a story! Mootoo and Declan
https://www.youtube.com/watch?v=SJeJd4yJ36Ahttps://www.youtube.com/watch?v=SJeJd4yJ36A
21. Using Mime: How would you mime?Using Mime: How would you mime?
enormousenormous
elephantelephant
boredbored
ideaidea
walkwalk
New YorkNew York
meetmeet
magicmagic
monkeymonkey
what's the matter?what's the matter?
with mewith me
OKOK
crazycrazy
crocodilecrocodile
tiredtired
sleepsleep
22. Miming a storyMiming a story
Now listen to the story (on nextNow listen to the story (on next
slide) and mime the actions youslide) and mime the actions you
decided on while I tell the story.decided on while I tell the story.
We will do it twice…We will do it twice…
23. ENORMOUS ELEPHANTENORMOUS ELEPHANT
This is the story of Enormous Elephant, Magic Monkey, and Crazy Crocodile.This is the story of Enormous Elephant, Magic Monkey, and Crazy Crocodile.
One day Enormous Elephant was bored, very very bored. Then he had an idea.‘IOne day Enormous Elephant was bored, very very bored. Then he had an idea.‘I
know,’ he said, ‘I’ll go to New York.’ So he started to walk, and he walked, andknow,’ he said, ‘I’ll go to New York.’ So he started to walk, and he walked, and
he walked, and he walked. On the way he met Magic Monkey.he walked, and he walked. On the way he met Magic Monkey.
‘‘Hello, Magic Monkey,’ he said. ‘Hello,’ said Magic Monkey.‘What’s the matter?’Hello, Magic Monkey,’ he said. ‘Hello,’ said Magic Monkey.‘What’s the matter?’
said Enormous Elephant. ‘I’m bored,’ said Magic Monkey, ‘very, very bored.’‘I’vesaid Enormous Elephant. ‘I’m bored,’ said Magic Monkey, ‘very, very bored.’‘I’ve
got an idea,’ said Enormous Elephant, ‘why don’t you come to New York withgot an idea,’ said Enormous Elephant, ‘why don’t you come to New York with
me?’ ‘OK,’ said Magic Monkey.So they started to walk, and they walked, and theyme?’ ‘OK,’ said Magic Monkey.So they started to walk, and they walked, and they
walked, and they walked. On the way they met Crazy Crocodile.‘Hello, Crazywalked, and they walked. On the way they met Crazy Crocodile.‘Hello, Crazy
Crocodile,’ they said. ‘Hello,’ said Crazy Crocodile.‘What’s the matter?’ saidCrocodile,’ they said. ‘Hello,’ said Crazy Crocodile.‘What’s the matter?’ said
Enormous Elephant. ‘I’m bored,’ said Crazy Crocodile, ‘very, very bored.’‘I’veEnormous Elephant. ‘I’m bored,’ said Crazy Crocodile, ‘very, very bored.’‘I’ve
got an idea,’ said Enormous Elephant, ‘why don’t you come to New York withgot an idea,’ said Enormous Elephant, ‘why don’t you come to New York with
us?’‘OK,’ said Crazy Crocodile. So they started to walk, and they walked, andus?’‘OK,’ said Crazy Crocodile. So they started to walk, and they walked, and
walked, and walked. And they walked, and they walked, and they walked. Andwalked, and walked. And they walked, and they walked, and they walked. And
they walked, and they walked, and they walked.‘Oh, I’m tired,’ said Enormousthey walked, and they walked, and they walked.‘Oh, I’m tired,’ said Enormous
Elephant. ‘Oh, I’m tired,’ said Magic Monkey.‘Oh, I’m tired,’ said CrazyElephant. ‘Oh, I’m tired,’ said Magic Monkey.‘Oh, I’m tired,’ said Crazy
Crocodile. So they all went to sleep.Crocodile. So they all went to sleep.
24. Action SongsAction Songs
My Mummy is a dentist…My Mummy is a dentist…
There was a Princess….There was a Princess….
When Goldilocks went to…..When Goldilocks went to…..
There were Ten in the Bed….There were Ten in the Bed….
Miss Polly had a Dolly…..Miss Polly had a Dolly…..
Five Little Monkeys Jumping on the Bed..Five Little Monkeys Jumping on the Bed..