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Welcome to GuruKul (Guru at School) I Putu Wirya Suta

Selasa, 20 Desember 2011

KALIMAT PAST TENSE UTK GAME KARTU REMI

Kalimat di bawah ini dipotong-potong per kata untuk menjadi kartu.


They                 went                     to Bandung         two weeks ago
Rocky and Brenda watched                  movies              together
Devina               cried                     in the room        last night
Jannissa             cooked                   soup                this morning
They                 typed                     the novel           in the library
We                   met                       them                in the hospital
The cows            slept                      on the grass       yesterday
Jeffer               bought                    a big house        in Metro
My sister            swept                     the floor           with broom
My Mom             washed                   the dishes         at the kitchen
Your Dad            fed                       the cows           behind the house
Suta                 kicked                    the ball            with his left foot
Eddy                 sang                      Kroncong           very beautifully
Takur                married                  his student         last year
Nanda               rode                      his Vespa          to my house

Alit and Mega      did not                   live                  on Kenari street
Ms. Ratmi           did not                   teach               English Grammar
Mr. Basuki          did not                   teach               in Unila
Tika                  did not                   play                 with my bird
Tibo                  did not                   receive             letters
You                   did not                   drive                my car
She                  did not                   kiss                 her mother
I                     did not                   move                to Jakarta
We                   did not                   see                 the accident
Christ John         did not                   like                 boxing
Carlos                did not                   smile                at me
Bandawa             did not                   love                 Queen Laksmi
Arya                 did not                   accompany         Bunga
Monica               did not                   want to             study
Choky                did not                   shout               loudly

Did                   they                      come                to your house
What                did                        you                 eat                                     for breakfast
Who                 did                        she                 meet                                                              in the hall
Did                   he                        buy                 the house
Where               did                        they                go camping
Why                 was                       she                 angry with me
Were                Andre and Sule         happy               to be artists
Was                  Jane                      in the bank        yesterday
Did                   Mr. Suarnajaya         build                house                                                              on Jl. Pulo Serangan
Why                 did                        we                  send                                                               the letters
Were                they                      at Penimbangan    beach                                                             last night
Who                 was                       in my room         this morning
What                did                        you                 write                                                              on the whiteboard
Who                 taught                    Math               in your class
Was                  Indira                    a naughty          child

Kamis, 15 Desember 2011

Rabu, 14 Desember 2011

Mengajar Grammar (Simple Past) melalui permainan Kartu Remi

Prosedur:
- Guru menyiapkan 180 kartu yang masing-masing kartu terdapat sebuah kata yang akan disusun menjadi kalimat. Masing-masing kalimat terdiri dari empat kartu.
- Kalimat-kalimat yang tersusun dari kartu-kartu tersebut bisa kalimat positif (warna merah), negatif (warna biru)dan tanya (hitam).
- Siswa dibagi menjadi 4 kelompok (tergantung jumlah siswa).
- Guru membagikan 13 kartu ke masing-masing kelompok.
- Tugas masing-masing kelompok menyusun kartu-kartu itu menjadi 3 kalimat simple past baik kalimat positif, negatif maupun kalimat tanya.
- Seperti halnya bermain remi, tiap kelompok mempunyai kesempatan mengambil satu per satu kartu yang tersisa secara bergilir agar mereka mendapatkan pasangan kartu yang dimiliki untuk menyusun kalimat. Tiap pengambilan 1 kartu, kelompok bersangkutan harus membuang 1 kartu yang dianggap tidak penting.
- Kelompok berikutnya berhak mengambil kartu yang dibuang oleh kelompok sebelumnya apabila kartu tersebut dianggap bisa dipasangkan dengan kartu yag dimiliki.
- Apabila ada salah satu kelompok yang bisa menyusun 3 kalimat simple past dengan 12 kartu yang dimilikinya dan sisa 1 kartu, maka kelompok tersebut yang memenangkan game dengan rincian nilai:
        > Kartu yang tersisa sebagai kartu penutup dengan poin 50.
        > Kartu-kartu yang tersusun menjadi kalimat diberikan poin 10 tiap kartu (jadi poinnya 10 x 12 = 120)
        > Sehingga total nilai yang diperoleh oleh kelompok yang memenangkan babak tersebut adalah:
           50 + 120 = 170.
- Apabila tidak ada kelompok yang memenangka game sampai kartu sisa habis, maka nilai dihitung berdasarkan kartu yang dipegang oleh masng-masing kelompok dengan rincian sbb:
        > 1 kartu yang tersusun benar menjadi kalimat nilainya 10.
        > 1 kartu yang tersusun salah nilainya -10.
        > Jadi, jika dari 13 kartu yang dipegang terdapat 8 kartu tersusun benar dan 5 kartu tersusun salah, maka nilainya: (8 x 10) - (5 x 10) = 30.
- Game dimainkan dalam beberapa babak. Kelompok dengan nilai akhir tertinggi adalah pemenangnya.


Contoh kata-kata dalam kartu:
/They/        /visted/       /John/       /yesterday/

/Andre and Sule/          /did not/         /eat/           /this morning/

/Did/        /we/          /come/         /to his house/


Selamat Mencoba..
By: Wirya Suta (GuruWir)

Senin, 05 Desember 2011

Teaching Tenses Through Miming (e.g.: present continuous tense)

* Teacher provides sentences of tenses (e.g. present continuous tense) on pieces of papers.
    * Students are divided into groups.
* Each group sends their volunteers (2  or 3 students) to take the paper and mime the sentence.
   Andre and Sule are dancing on the stage.
            S1                  S2              S3
Student 1 mimes the SUBJECT, student 2 mimes the VERB, student 3 mimes the COMPLEMENT (object, adverb).
* The group then guess the mime with present continuous sentence. (they are given 2 minutes for one sentence).
* Correct guess is for 1 point.
* The group with the most point win the game.

It can be applied for teaching other tenses.

By: I Putu Wirya Suta (GuruWir)

Teaching Grammar Through Game (e.g.: Indirect speech)

* Teacher provides cards with two faces; one face for question, the other is for the answer.
ex.: Face 1: Andre said, "Nia is having lunch with Ryan at the school canteen."
      Face 2: Andre said that Nia was having lunch with Ryan at the school canteen.
   The questions are faced up and the answers are faced down.
* Students are divided into groups.
* One by one the members of the groups comes in front to answer the questions on the cards.
* Round 1: Students who answer correctly get point.
* Round 2: Students who answer the first and correctly get 5 point, the second get 3 point, the third get 2 poind.
* The group who gets most point is the winner.

it can be applied to other grammar points such as conditional sentence, passive sentence, etc.

By: I Putu Wirya Suta (GuruWir)

Teaching Speaking (telling story through drama)

* Teacher provides some stories (narrative text) which have been cut into paragraph.
* The paragraphs are delivered to students randomly.
* Students find their friends who have the other parts of the story.
* After they find their friends (the group) they arrange the paragraph into a correct order story.
* In group they make the story into drama to be performed.
* Students perform their drama.

By: I Putu Wirya Suta (GuruWir)

Game for Teaching Reading Comprehension

* Teacher provides a monolog text (e.g. a story) which has been cut per paragraph. The 'paragraph-papers' should be as many as the students.
* The papers are delivered to students randomly.
* Students read the paragraph they get, then find out their friends which have the same topic/story.
* After they find their friends (it becomes a group), they arrange the text/story into a complete order one.
* In group, students make some questions according to the text/story they have.
* Students ask and answer questions to each group.
* The group which answer the most questions correctly is the winner.

Can be applied for teaching Reading Comprehension (any monolog text)
By: I Putu Wirya Suta (GuruWir)

Brahman-Atman-Karma-Punarbhawa-Moksa

Brahman adalah tak terkondisikan, tanpa bentuk, melampaui segalanya, tak tergambarkan. Atman adalah bagian dari Brahman. Brahman dan Atman adalah satu adanya. Ketika atman terkondisikan akibat dari karma, ia adalah benih-benih kehidupan (mahluk hidup) yang harus menjalankan dharmanya sesuai dengan karma yang dimiliki atas dirinya sendiri. Sifat-sifat atmanpun terselubungi oleh karma itu sendiri. Hidup menjalai karma adalah kewajiban setiap mahluk untuk mencapai tujuan akhir yaitu Brahman (moksa). Brahman tidak menentukan kwalitas kehidupan dari mahluk hidup (seperti keberuntungan, nasib, dan takdir), yang menentukan itu semua adalah karma dari mahluk hidup itu sendiri. Karma terdahulu menentukan kwalitas kehidupan yang dijalani sekarang, dan begitu juga karma yang sekarang menentukan kwalitas kehidupan yang sekarang dan juga kehidupan yang akan datang. Brahman tidak menghadiahi keberuntungan atau hukuman maupun ujian kepada mahluk (manusia). Seperti yang kita lihat, ada orang yang kwalitas hidupnya bagus (kaya, pintar, tanpan, cantik) dan yang lainnya ada yang kehidupannya tidak bagus (miskin, bodoh, cacat). Ini semua bukan hadiah atau hukuman dan ujian dari Brahman, melainkan akibat dan hasil dari karma yang kita perbuat. Jika itu dikatakan hadiah atau hukuman dan ujian dari Brahman, sungguh tidak adilnya Sang Brahman. Ia maha adil, maha pengasih dan penyayang, tidak mungkin Ia pilih kasih pada si A dan memberi hukuman pada si B. Itu semua adalah hasil dari perbuata kita. Jadi kita harus bertanggungjawab atas apa yag telah kita perbuat.
Maka dari itu, kita diharapkan menerima dan menjalankan dengan iklhas kehidupan yang kita ciptakan sendiri ini apapun bentuknya agar semua karma yang masih kita punya cepat terhapuskan dengan menerima hasilnya. Dan kita juga hendaknya berbuat karma yang baik dalam kehidupa ini agar kwalitas hidup kita yang akan datang menjadi lebih baik dari sekarang. Dan setelah menjelajahi beribu-ribu inkarnasi suatu saat atman akan mengalami keadaan tak terkondisikan lagi jika kita bisa memutus rantai karma dan inkarnasi. Saat atman sudah tak terkondisi lagi, ia menyatu dengan asalnya yaitu Brhaman. Keadaan inilah yang disebut dengan Moksa.

Lokha samastha sukino bhavantu
semoga semua hidup berbahagia

GuruWir

Jumat, 02 Desember 2011

The Benefits of Using Drama in the ESL/EFL Classroom

The Benefits of Using Drama in the ESL/EFL Classroom
Chris Boudreault
solartrees [-at-] gmail.com
(Lac La Biche, Canada)
As an English teacher, I have often been amazed at how effective drama is to capture the attention of the students in the ESL/EFL classroom.  Drama activities would sometimes have surprising and unexpected results.  ESL/EFL professionals need to use this medium more because the artificial world of the classroom can be transformed into a quasi-real language situation and provides an endless amount of opportunities for student’s personal growth.  We cannot only teach grammar and phonetics with drama but also it has the power to transform the actors as well as the audience.  We shouldn’t underestimate this powerful teaching tool to reach our students.
Introduction
William Shakespeare claimed that

All the world's a stage,
And all the men and women merely players;
They have their exits and their entrances,
And one man in his time plays many parts,
His acts being seven ages.
As You Like It Act 2, scene 7, 139–143
   
If so, then maybe we need to use drama more in the schools.  Using drama in the ESL classroom is not a new concept.  Drama provides an excellent platform for exploring theoretical and practical aspects of the English language (Whiteson,1996).  The improvisation aspect of drama gives students opportunities for developing their communicative skills in authentic and dynamic situations.  By using drama in the English classroom, we can use English with our students in intriguing and useful ways. The language can be used in context and makes it come to life.  Drama has the potential of making the learning experience fun for the students and even memorable because it is interactive and visual.

There are many studies about using drama to learn English. Wan Yee Sam talks about the communicative approach, drama techniques, value of drama in education, advantages and disadvantages (Sam,1990). Alan Maley and Alan Duff are classic sources for the benefits of using drama techniques; how it helps to learn new vocabulary, builds confidence, motivates the students and helps shift the focus from the teacher to the students (Maley,1982). Drama is a special communication situation which makes considerable demands on the flexibility and skills of the teacher (Kao,1998). We have Morrow (1981) who gives some guiding principles behind the use of the communicative activities. Susan Holden (1981) adds some definitions as to what drama is and how it provides opportunities for a person to express themselves. The personal nature of improvisation provides many outlets for self-expression. We even hear that children need to play as an important developmental process.
Benefits of Using Drama
This is all very relevant information concerning using drama in the ESL/EFL classroom. We can sum up the benefits of drama in language teaching as follows:
the acquisition of meaningful, fluent interaction in the target language;
the assimilation of a whole range of pronunciation and prosodic features in a fully contextualized and interactional manner;
the fully contextualized acquisition of new vocabulary and structure;
an improved sense of confidence in the student in his or her ability to learn the target language.” (Wessels, p.10). 
Drama puts the teacher in the role of supporter in the learning process and the students can take more responsibility for their own learning.  Ideally, the teacher will take a less dominant role in the language class and let the students explore the language activities.  In the student centered classroom, every student is a potential teacher for the group.
   
Drama for second language learners can provide an opportunity to develop the imagination of the students. The students can go beyond the here and now and even 'walk in the shoes' of another. It provides an opportunity for independent thinking  (McCaslin 1996). Students are encouraged to express their own ideas and contribute to the whole.  Creative drama will offer exercises in critical thinking and the chance for the students to be creative. A good example of this is role-plays in small groups The ESL/EFL group will have many situations where they can develop their own ideas as well as skills of cooperation when interacting with classmates.  The group work builds social awareness and understanding as we walk in the 'shoes of another'. Drama gives an excellent method for studying human nature and working in harmony.  The play acting provides the opportunity for a healthy release of emotion in a safe setting which can work to relieve the tension of learning in a second language.
Drama Brings Literature to Life
Most teachers see the value of drama in offering training in speech. What is not obvious is how even abstract learning is easier when acted or demonstrated. Drama can also be used to bring literature to life for the students. It is more dynamic than simple text and helps the visual learners as well as recycles new vocabulary. While drama does have a characteristic of recreation, the fun aspect should not be under-estimated.  When the students are enjoying an activity, they are learning and letting their guard down.  The shyness and fear of using English very often blocks learning.  When the students are submerged in an active fun activity, they are more open to new concepts and learning will occur. When the students are having fun, they let their second language guard down and become less inhibited.  The student will tend to relax and stop blocking out the new language.  They will forget how hard it is and start absorbing the ideas presented. Changing the students’ perception of the language learning from a negative to a positive is a huge plus for the learning process.
   
A good example of the attributes of drama being used outside the classroom is the game of theatre sports. Starting out in Loose Moose Theatre Company in Calgary, Canada (Johnstone,1999). This drama activity has grown to become an international endeavour, taken up by practitioners the world over, which involves the audience as much as the actors in creating a very spontaneous event. Theatre sports demonstrates how powerful a motivating force role-playing can become for the actors as well as the audience. There are presently teams in many different countries using different languages who put on an unrehearsed game for countless spectators and the appeal is only growing. 
Drama as a Powerful Teaching Tool
In the ESL/EFL classroom, role-playing is a powerful tool.  It teaches cooperation, empathy for others, decision making skills and encourages an exchange of knowledge between the students.  These aspects alone make role-playing beneficial because the students are learning from each other.  Yet, there are many other positive aspects to the role-playing.  Apart from the obvious development of communication skills, it encourages leadership, team work, compromise, authentic listening skills and practice with real life savior-faire.  However, it does not stop there.  It teaches cooperation, empathy, develops decision making skills, promotes the exchange of knowledge, builds confidence and self-esteem, refines presentation skills, encourages self-acceptance and acceptance of others, features of empowerment, pride in work, responsibility, problem solving, management and organizational skills, begets creativity and imagination.

A good drama teacher can use the practice with role-playing to contribute to the self-esteem of the students, build their confidence in using the target language (English) as well as develop many of the skills mentioned above which will carry over to real life.  It is certain that self-acceptance can be encouraged in subtle ways and acceptance of others.

Drama has the potential to empower the students, give them many opportunities to have pride in their work, it teaches them responsibility, problem solving, management and directing proficiencies.  The many activities of team work force students to develop organizational skills and to think on their feet.  These are tools that can be used in all aspects of their lives.  These skills will be useful in the future job market when the students need to work with others or even in the future job interview when the potential employer asks an unexpected question and you need to think quickly.
Drama Reveals Aspects of the Human Condition
When you think about it, drama is a method to reveal aspects of the human condition, life is nothing more than a grand series of improvisations (Price 1980).  Through the games, the students begin to realize the importance of shared space, time, attention, information and ideas.  The games spark spontaneity and minimize self-consciousness which often inhibits learning.  The games are also good for developing concentration and trust in the classroom.  While the students are having all this fun, they are developing skills of coordination, imitation while focusing on the task at hand.  The improvisation enables the students to flex their emotional, mental as well as physical muscles in a safe and controlled setting. A good example of this was a role-play one group performed where they displayed their displeasure with the school principal. There was no harm done and all the students were feeling the same.
Final Reflections on Improvisations and Benefits of Drama
'Improvisation, then, is an organic experience where skills are constantly being refined.  In particular, students develop an increasing facility to meet changing or unknown stimuli with immediate responses.  Ideally, improvisation leads to a blending; the students create the personality traits as he/she simultaneously identifies with the character as it evolves.  Obviously, the teacher-director should never lose sight of the metamorphic and highly personal nature of improvisation; therefore, there must never be the question of success or failure.' (Price, p. 6)

Drama in its purest form gives the student several avenues to self-awareness.  It is one of the closest literary forms to life itself.  It is a dynamic process that reveals and examines aspects of the complicated lives we lead (Price 1980). All of this leads me to believe that there are many subtle benefits to drama in the ESL classroom.

The benefits of drama to develop the imagination should not be undervalued.  In our rote school routines of memorization and compulsory subject matter, we sometimes do not spend enough time on encouraging our students to use their imagination.  It is the spark that makes the ordinary into something incredible.  Imagination is the magic force that is beyond facts, figures and techniques which can inspire new ideas.  It is with imagination that the ordinary is transformed into something significant.  There is a need to cultivate this trait in our students.  Imagination is closely linked to dreams and inspire us to get up every morning.  Drama has the capability to keep this alive and/or rekindle what our routine daily lives are burying in ourselves.  We need imagination to make a better world. In order to accomplish anything worthwhile, we first need to imagine and dream it.  We should not neglect this facet of human sentience. It may seem like a trivial point, but dreams without imagination would be like life without colour.  We would all be worse off without it.
The Power of Transformation with Drama
We all present ourselves in everyday life as we want to be perceived. Erving Goffman (1958) talks in detail about how we present ourselves in everyday life from a sociological perspective.  We are all acting out theatrical performances to present ourselves in regard to how we wish to be seen. When we are in the presence of others, we are to some extent on stage. We will act and communicate in our own interests to influence the people around us to act voluntarily in accordance with the individuals plans (Goffman,1959).  We are in essence, recreating ourselves all the time as our social world evolves. In everyday life, first impressions are so very important.  So, how we are perceived often depends on a blink of a moment which may define us for a long period if not forever. Our communication skills are so important in how we are seen by others. Our words and body language project subtle messages to those around us and others respond in accordance to what they perceive as "us".  In life, we are all playing many roles, therefore, we are wearing many masks.

In a sense, and in so far as this mask represents the conception we have formed of ourselves- the role we are striving to live up to- this mask is our truer self, the self we would like to be (Goffman, p.30).

We know that an individual will attempt to induce the audience to see them in a certain way.  The more convincing we are in our own roles only help to create the persona that we wish for. The better we are at communicating our ideas helps ourselves to become who we want to be.

Therefore, it makes sense that dramatic skills can help us become the person we want to be. In this way, drama has a wider reach than simply making us more fluent in a second language.  It has the potential of making our lives better as we will be better understood and may help us become the people we want to be. Drama is all about how we present ourselves. If the student can communicate better, the more likely others will see him/her as he/she wishes to be seen.  Therefore, the skills of drama can help the student become the person that he/she wants to be.
References
Goffman, Erving (1959), The Presentation of Self in Everyday Life. Penguin Books, London.
Holden, Susan (1981): Drama in Language Teaching. Essex: Longman
Johnstone, Keith (1999), Impro for Storytellers. Routledge Taylor and Francis Group,  NewYork
Kao, shin-Mei and Cecily O’Neill. (1998)  Words Into Worlds, Learning a Second Language through Process Drama.  Ablex Publishing corp. Stamford, USA.
Maley, Alan and Alan Duff. Drama techniques in Language Learning.  Cambridge University Press, Cambridge. 1982.
McCaslin, Nellie (1996).  Creative Drama in the Classroom and Beyond.  London, Longman Publishers
Morrow, Keith (1981): Principles of communicative methodology. In: Johnson, Keith / Morrow, Keith (eds.): Communication in the Classroom. London and New York: Longman
Price, Pamela (1980).  Creative Play Production in the Classroom.  Yale, Yale Publishers.
Royka, Judith (2002). Overcoming the Fear of Using Drama in English Language Teaching. The Internet TESL Journal, vol.8, #6, June 2002.
http://iteslj.org/Articles/Royka-Drama.html
Sam, Wan Yee (1990) Drama in Teaching English as a Second Language- a Communicative Approach.  The English Teacher, vol. 9, July 1990. Malaya.
Spolin, Viola (1986). Theatre Games For the Classroom. Northwestern University Press, Evanston, Illinois
Wessels, Charlyn (1987).  Drama.  Oxford, Oxford University Press.
Whiteson, Valerie (1996). New Ways of Using Drama and Literature in Language Teaching. Alexandria,VA., TESOL.
The Internet TESL Journal, Vol. XVI, No. 1, January 2010
http://iteslj.org/
http://iteslj.org/Articles/Boudreault-Drama.html

Teaching Reported Speech for Writing: A Game Approach

Teaching Reported Speech for Writing: A Game Approach
C. David Smith
aief {at} msn.com
Chuo University (Tokyo, Japan)
In this short article, I describe the creation and use of a game to teach the use of reported speech for English writing.
Introduction
Although Japanese university students study, or are at least exposed to the use of reported speech in late middle school or early junior high school English lessons, they rarely master the accurate application of this language feature. While in conversation, the correct use of reported speech isn't of such great importance, proper use of this form in writing is an absolute necessity to express clear meaning. Issues regarding word order, proper identification of subject, direct object and indirect object, and situation; place and time, can make the conveyance of intended meaning extremely unlikely.

A conventional approach to teaching proper reporting of direct utterances may involve explanation of the grammar involved followed by oral or written exercises for reinforcement and confirmation that the student has mastered the form. For students with at least a perfunctory exposure to this form of written expression, I believe this approach is flawed and produces an unsatisfactory outcome. The syntactic and lexical transformations involved are numerous, and though the situation is not as complex as the rules governing the use of the definite article in English, it is not that dissimilar. A much more effective approach involves utilizing a game format. Not only is this far more efficient; it is much more enjoyable for both learner and instructor. While lecture, exercises and drills may have an ancillary role to play in reinforcement of this linguistic skill, they are exceedingly ineffective in the absence of a more activity oriented approach.
Procedure
I begin by composing or choosing representative quotations. Among the transformational features which cause the greatest difficulty for my students are tense, auxiliary verbs, proper identification of subject and object; and time and place. I then use the cell (table) function in my word processing program to create cells into which each direct speech quotation is placed. For example: He said to her: "Did you come here by bus today"? I then type the corresponding reported speech expression on the corresponding reverse side cell: He asked her if she had come there by bus that day. A non-interrogative statement such as He said to her: "I didn't know that your sister was married" becomes He told her he hadn't known that her sister had been married. In this way, a set of double faced cards can be created.

FRONT


She said to him: “I’m tired.”       
He said to her: “Are you a doctor?”         
She said to him: “Will the train be late?”               
He said to her: “I won’t be able to go to the meeting.”

She said to him: “Where is my husband?”            
He said to her: “What time does the next bus leave?”   
I said to him: “You can’t have any money.”          
He said to me: “Can you swim?”


I said to her: “Maria doesn’t understand English.”            
I said to him: “Does she know what she’s doing?”            
She said to me: “How many people know about the plan?”         
He said to me: “It takes about three hours to drive to Cambridge.”

She said to me: “Why do your parents live in Greece?” 
He said to me: “I live a long way away.”
I said to her: “I’ve always thought your sister was married.”        
I said to them: “When we’ve finished this game we’ll have dinner.”

He said to me: “Have you got a credit card?”      
He said to him: “Do you work here?”     
He said to me: “Do you know these are my lights?”         
He said to her: “Can you give me your phone number?”



BACK

He told her he wouldn’t be able to go to the meeting.
               
She asked him if the train would be late.              
He asked her if she was a doctor.            
She told him she was tired.

He asked me if I could swim       
I told him he couldn’t have any money.
He asked her what time the next bus left.
               
She asked him where her husband was.

He told me it took about three hours to drive to Cambridge.      
She asked me how many people knew about the plan. 
I asked him if she knew what she was doing.     
I told her Maria didn’t understand English.

I told them when we had finished that game we would have dinner.     
I told her I had always thought her sister had been married.
               
He told me he lived a long way away.
               
She asked me why my parents lived in Greece.

He asked her if she could give him her phone number. 
He asked me if I knew those were his lights.

He asked him if he worked there.

               
He asked me if I had got a credit card.



These cards can be cut into sets; usually 20 or 25 cards works best. It should be easy for students to determine which side of each card is the direct quotation, and which represents the reported equivalent; but to make things a bit easier for them, distinctly different fonts may be used for each. As I begin the lesson, I provide three or four examples on the board just to help activate the students' memories; an affirmative, negative, and interrogative example of each. Students are then seated in groups of between three and five members. As these groups receive sets of the two-sided cards, they are directed to place them in a pile with the direct quotation sides facing up. In a predetermined order, a student looks at and reads the direct quotation on the top card in the pile. He/she must then say the equivalent reported speech form. Finally, the student turns over the card and checks the answer, which all group members are shown. If he/she is correct, the student may keep the card. If not, it is placed at the bottom of the pile. Then the following student repeats the procedure and once all the cards have been won by the group members, the student with the largest number of cards is declared the winner.
Extension
This game can be repeated or, for more intensive practice, a different rule may be applied. In this version, students receive a point for each correct answer, rather than receiving the card. In addition to the above direct-reported speech quotations, functional equivalent expressions may be employed. For example, the direct quotation He said to her: "Will you give me your phone number"? corresponds to the reported expression He asked her to give him her phone number. Of course, this activity can be followed by oral drills or written exercises to confirm mastery of the transformational structure.

This two-sided card game format is also useful for other potentially problematic grammatical features, such as passive-active sentences and relative clause formation.

Discussion
The content of the cards and the difficulty of the expressions used should relate to the level of the class, of course. They should be designed to generate a high rate of errors, initially. Gradually, students learn from theirs and others' mistakes, and they become completely absorbed in the activity. Often, about 20 minutes of practice is sufficient to refresh and reinforce the grammatical form. During the activity, I circulate around the classroom, monitoring students' progress. If some of the groups finish up early, I spot check their performance and if this is lacking, I direct them to repeat the activity.

Conclusion
Using games and other competitive activities is, in my experience, the best way to introduce or reinforce proper use of grammatical structures. In writing, grammatical accuracy is especially important, and the reported dialog form represents a major element of this. The activity and game format described in this article is definitely both an effective and enjoyable way for students to master the use of reported speech in English writing.
The Internet TESL Journal, Vol. XVI, No. 3, March 2010
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Teaching Conversation Strategies Through Pair-Taping

Teaching Conversation Strategies Through Pair-Taping
Nancy Washburn
washburn [at] u-aizu.ac.jp
&
Kiel Christianson
The University of Aizu (Aizu-Wakamatsu, Fukushima, Japan)
kiel [at] u-aizu.ac.jp
http://www.u-aizu.ac.jp/~kiel/

Originally published in TESL Reporter, 28(2), 1995.

Introduction
When native speakers and non-native speakers hold conversations they must generally work together to avoid and overcome communication breakdowns. The strategies and tactics which they use include selecting salient topics, checking comprehension, requesting clarification, repeating utterances, stressing key words, and switching topics (Ellis, 1985). Research shows that the skills involved in negotiating to avoid and repair breakdowns are important for ESL/EFL learners to have. Pica states, "To engage in the kind of interaction believed to activate the acquisition process, classroom activities must be structured to provide a context whereby learners not only talk to their interlocutors, but negotiate meaning with them as well" (quoted by Browne, 1993, p. 40). Ellis points out that a one to one native speaker to non- native speaker linguistic environment is superior to the one to many environment of the classroom in providing opportunities for negotiated interaction.

Practically, however, few classrooms can provide individual learners with enough (or any) negotiated interaction with native speakers. For most classroom teachers, developing activities which promote negotiated interaction between learners is the most realistic and effective choice. At the Center for Language Research at the University of Aizu, we have developed a technique which results in original conversations between false beginner/low intermediate learners. This technique encourages learners to use strategies for avoiding and repairing breakdowns and requires them to take initiative and accept responsibility (and credit) for their success. This technique involves the taping of conversations held by pairs of learners in our language laboratory, but it could be transferred successfully to many classroom environments.

Overview
One of the challenges of teaching conversation strategies is to present learners with the authentic need to use them in the classroom. Another is to monitor and provide feedback to learners in large classes. We find that our pair taping technique meets these challenges. A third challenge is the reluctance of our learners to commit their imperfect conversations to audio tape. Initially, learners will pause the tape recorder whenever they run into problems and resolve the misunderstanding in Japanese, thus avoiding the need to "spoil" their tape by negotiating in English. We found that we needed to give legitimacy to the negotiation process and to communicate our acceptance of the quality of English conversations which learners at their level are able to hold. We do this by presenting the conversation strategies via audio and video tapes of natural conversations held by sophomores and more advanced freshman. The videotaped conversations are planned in advance by the participants for the inclusion of certain strategies, but they are unscripted. The audio tapes are taken from those made in class by former and current students. These tapes are very efficient in communicating the task and in reassuring our learners that they can succeed in meeting expectations. Then the class, working in pairs or groups of three, hold original conversations and tape them. Learners make a lot of mistakes while having these conversations, creating an authentic need to use the strategies they have just studied. Teachers monitor the appropriate use of strategies by listening to the tapes and writing tape evaluations.

There is growing evidence that such conversations between learners can be productive. Clennell (1994), in his observations of classrooms, noticed "an extraordinary change in the learners' behavior...when the teacher moved away" from groups of students having a conversation. He saw a marked increase in fluency, improvisation, and creative use of words (p. 32). Schneider (1993, 1994) has found a higher level of achievement in terms of fluency and listening comprehension test scores among his students who have chosen to do pair- taping over attending traditional class sessions. Ernst (1994) has also found student-generated conversation in "Talking Circles" effective in teaching conversation strategies, grammar, and English sociolinguistic norms. Skeptics of such a straightforward approach raise legitimate concerns. Students might give each other "faulty" input. Students might have the same conversation over and over again. Students might rely solely on communication strategies which they already know or which are inappropriate. Students might avoid ESP content in their conversations. With these concerns in mind, we have built in some safeguards against the pitfalls of student-generated communication. Moreover, our use of the students' own production to introduce conversation strategies gives them a much-needed boost of self-confidence and lends legitimacy to the process of negotiating meaning with which learners must become comfortable.

The first objection above, that of students teaching students incorrectly, is based on the assumption that learning is simply the transfer of information from someone who is more knowledgeable to someone who is less knowledgeable; however, Glachan and Light state "interaction between inferior strategies can lead to superior strategies, or in other words, two wrongs can make a right" (1982, p. 258, as quoted in van Lier, 1994, p. 8). In many thousands of minutes of "What's New?" tapes, we have found just one instance of a student correcting another student incorrectly, and he was not believed. We feel that the benefits for acquisition of two inferior strategies negotiating to find a superior one outweigh the possible drawbacks from learners conversing freely with each other.

That learners might have the same conversation over and over again is a problem that is discouraged by the very name of the activity: "What's new?" This question begins every conversation and implicitly demands a "new" topic. Most important for originality, we have found that our first term freshmen become very invested in holding these conversations and use them as opportunities to get to know each other. Even learners who are reluctant to talk on any given day seem to treat "What's New?" as a meaningful question and in the course of the conversation warm up to giving a genuine response. That learners may use strategies incorrectly or inappropriately is a concern which we meet by monitoring tapes and giving written feedback (examples below).
THE "WHAT'S NEW?" PROGRAM

General considerations
Over the course of the semester, teachers introduce various conversation strategies to assist learners in holding their weekly conversations. They are required to tape these conversations and to complete them within a time frame (3 to 15 minutes, at the discretion of the teacher). They are forbidden to stop the tape player before the time is up, so learners quickly discover their urgent need for the basic strategies, and motivation to use them is high. Learners are evaluated on the appropriate use of a strategy from the time it has been presented, loosing points for leaving them out when they are needed. Before they make their tapes, we give them examples of strategies in use taken from unscripted video and audio tapes made of conversations by sophomores and freshmen from other classes. (Our students are at mixed levels and most of the strategies are already used by some of our freshmen.) These conversations are not perfect, and that is one advantage to using them with our particular learners, who value perfection over fluency. As they listen to these imperfect performances (corrected transcripts of these conversations can be handed out), it becomes clear that the teacher values the process which the speakers are engaged in: the questions, the repetitions, the fillers, and other behavior which the speakers use to communicate successfully. The speakers make mistakes, and a short tape will often contain more than one example of strategies used as life rafts, allowing them to remain within the conversational flow. "Let me think" is a popular example. We present students with these tapes as imperfect but successful conversations by their peers, made possible largely because of the use of basic strategies which we will expect them to begin to use. It quickly becomes apparent that we will not measure their efforts against native speakers, but that we expect them to begin to hold conversations immediately, at their present level of competence. Peer produced tapes are also useful for pointing out the cooperative nature of conversation, something we reinforce by giving both pair members the same grade. Corrected transcripts of peer tapes are not used to point out errors, as this could add anxiety and lengthen pauses on tapes. Learners are required to make "What's New?" tapes, but they are free to choose the topics they talk about, the content and language. As strategies are added to their repertoire they are also added to the teacher's tape evaluation.
"Let's talk!"
Before we begin with "What's new?", students are shown video tapes of former students playing the game "Let's Talk!" from Helgeson (1991). This game introduces students to choosing their own conversation topics, the taping equipment in our Language Media Laboratory (LML), and teacher feedback methods. Learners are first asked to play the game as it is described by the sophomores on the video, ie., players move their game pieces to questions (such as "What is a good movie you have seen recently?") which they then answer themselves in at least 3 sentences. Then the class make their first tape. As more advanced learners will spontaneously use the first two strategies (turn-taking and follow up comments and questions), these first (ungraded) tapes help us decide how much time to spend on them.

Strategy 1: Follow-up questions/comments
The next class period, learners watch another video of sophomores playing "Let's Talk!", but this time after the sophomore answers a question, the partner must ask/make a follow-up question/comment. This is then used as an introduction to the first conversation strategy introduced in the semester (follow-up questions/comments). In introducing a conversation strategy, we follow a general plan similar to that described by Browne (1993) (excluding, perhaps, his information gap activity). First comes an advance organizer for the video we will show, which simply lets learners know what they will be seeing and looking for in the video (Herron, 1994). Students then watch the video, listen for the strategy (or lack thereof), write what they hear (listening practice), and finally provide original examples of the strategy that would be appropriate in the video conversation. Here is an example:

Sample conversation strategy activity: Follow-up Questions and Comments
Explanation: A very good way to show that you are interested in what another person is saying, is to ask questions or make comments. When you ask for more details about, or add your own ideas to what the speaker is saying, the speaker knows that you are really interested. The speaker then knows that you want him/her to keep talking.

Instructions: Watch the video-taped "What's new?" conversations. During the first conversation, listen for the statements written below. Write the follow-up questions/ comments that you hear after each one of these statements.


FIRST CONVERSATION:
A: We practiced with the new members.
B: (students write: How many new members?)

A: Two new members.
B: (students write: That's great!)

A: Our instructor is Professor Lambacher.(BR> B: (students write: Is he strong?)

Now, during the next conversation, the students didn't ask as many follow-up questions. Listen for the statements below. Write a possible follow-up question/comment after each one.

SECOND CONVERSATION VIDEO:
A: I went there to cheer for our team, but we lost the final game.
B: That's too bad. __________________________________

A: We went to Shinjuku and Shibuya to go shopping and sightseeing.
B: __________________________________

A: I bought party goods (supplies), for example firecrackers and masks.
B: __________________________________

After this activity is completed, students have 10 to 20 minutes (depending on the level of the learners) for pair- taping "Let's Talk!", with the new twist in the rules.
Strategy 2: Turn-taking
From this point on, students tape "What's new?" conversations. These are introduced with a short demonstration in class of how difficult it can be to begin a conversation. We then give students a formulaic but natural exchange with which to begin a conversation:

A: Hi (first name)! What's new?
B: Not much. How about you?
A: Well, ...

This informal beginning is appropriate for peer interactions, and it also displays the conversation strategy of turn-taking (cf. Maynard, 1986), i.e., "Not much. How about you?" Learners then continue practicing turn-taking, making statements and asking, "How/What about you/yours?" (eg., "My room is very small and dirty. How about yours?"). A video tape of sophomores holding a "What's New?" conversation is shown, then pairs are asked to record their first conversation, using the What's New? opening and paying attention to the use of turn-taking strategies when they help to keep the conversation flowing. Turn-taking is then added to the teacher's evaluation sheet, along with follow-up questions/comments and general comments.
Strategy 3: Back-channel cues
The next conversational strategy is giving back-channel cues to show comprehension and/or agreement. These are introduced as "English aizuchi", borrowing a term from Japanese (LoCastro, 1987). These are introduced in contrast to the aizuchi of Japanese, and then students watch video- taped conversations or listen to some of their own audio-taped conversations that display good examples of "English aizuchi." These include, O.K., yes, oh, I see, That's great!, Hmm, Uh- huh, etc. (Maynard, 1986; Tabuki, et al., 1990). Again, "English aizuchi" is added to teacher evaluation sheets.
Strategy 4: Requesting and giving clarification
The next conversation strategy is requesting and giving clarification. This is a conversation strategy which has been widely studied and written about (Kebir, 1994; Pearson, 1990; Brinton, et al., 1986; Maynard, 1986; Loveday, 1982). We introduce the strategy simply with the questions, "What can you do if you don't understand?" (asking for clarification) and "What can you do if the other person doesn't understand you?" (giving clarification). First students watch another video of former students negotiating meaning, and they areasked to make notes of 1) what the words/sentences are that are not understood, and 2) what the students in the video say to make the meaning clear. After this warm-up, and the following discussion of what they saw, we introduce four strategies for asking for clarification and a simple mnemonic, RASS:
Repeat the word or phrase as a question (ex. "Martial arts?").
Ask the other person to explain (ex. "What is martial arts?").
Show that you don't understand (ex. "What?" or "Huh?").
Suggest another word which you THINK has a similar meaning (ex. "Martial arts? Like karate?").
For giving clarification, we introduce these strategies, and the mnemonic DUG:
Define the word(s) (ex. "Martial arts are traditional fighting styles.").
Use another word(s) (ex. "Ways of fighting."). *Give examples (ex. "Martial arts, for example karate, judo, and aikido.").
Next, examples of these strategies taken from "What's new?" peer tapes are played, and students are asked to listen, fill in the blanks, and identify the strategies in activities such as the one below (lines left blank in the actual activity are given here in italics):
Sample conversation strategy activity: Asking for and giving clarification
Instructions: you will listen to (n) conversations. In each conversation, one of the speaker's lines are blank. Write what you hear in the blanks. After you have listened to the conversations, decide which strategies were used.

T: What's new?
D: Not so much. How about you?
T: I slept until, ah, 15 yesterday.
D: Huh? 15?
T: 15 is 3 p.m.
D: Pardon?
T: Yeah, uh, I slept until...
D: until
T: 15 o'clock.
D: 15 o'clock?
T: Yes. my body is...
D: 15?
T: Yes. It's afternoon.
D: Oh, I see, I see. Why?
T: I don't know.
(Both laugh)

Check the strategies that D used to show T that he didn't understand. Then write examples.

___ Repeat___ Ask for an explanation
___ Show that you don't understand
___ Suggest another word

Ex.:
Ex.:
Ex.:

Check the strategies that T used to help D understand. The write examples.

___ Define ___ Use another word ___ Give examples
Ex.:
Ex.:
Strategy 5: Changing the subject
The next conversational strategy we present is changing the subject. The same general presentation plan is followed, again using student audio and video tapes, along with some expressions which are new for our students, including "I'd rather not talk about it (that)." And changing the subject is also added to the teacher evaluation sheet. Encouraging breakdowns in communication

Because they can control the topics and the vocabulary of their own conversations, communicating meaning becomes easier for learners as their confidence grows. Consequently, it becomes more difficult to assure that they have enough experience using the strategies for repairing breakdowns. As Schweers (1995) mentions, conversations between learners of different levels are more likely to produce the need for negotiation. Such efficacious pairing can not be assured, however, and it becomes necessary to use techniques which encourage breakdowns.

Simply changing taping partners adds to the potential need for negotiation. More challenging, is the creation of "telephone" conversations, achieved by placing partners so that they can not see each other.

An activity called "Fluency Practice" represents a further escalation in difficulty. Using this technique to practice avoiding and repairing breakdowns represents a minor variation on the one created by Dr. Noel Houck, Temple University, Japan (personal communication). Pairs are assigned a topic and are required to begin talking (and taping) before they can think about what to say. They must talk for x minutes (1 to 3) without allowing any pauses over x seconds (5 to 10) in length, at the teachers discretion. They must avoid or repair breakdowns. After they have begun to use the strategies successfully, the additional and quite realistic pressure of having to maintain a conversation without pauses on a topic not of one's choosing invites breakdowns which learners are able to repair or avoid. Most learners have found this an enjoyable challenge.

"Magic Word" is another activity which encourages communication breakdowns and using further, more subtle strategies to repair them. In the first stage of this activity each member of a pair is given one or more secret words which they must try to incorporate into a 1 to 3 minute conversation. This challenge requires skill at circumlocution and changing the subject. At the second stage, learners are given one or more secret words which they must try to get their partners to say within 1 to 3 minutes. This stage encourages the use of paraphrases like "What's another word for xxxx?"
Evaluation
Tape evaluation is the most challenging aspect of pair- taping. It can be very time consuming, particularly in the first term, if the teacher is listening for good examples to present to the class. In our experience the continued use of this system rests upon the development of a method of evaluation which is sustainable over the 14 weeks of our semester. In the interest of efficient evaluation, several elements of the entire taping system can be changed. For example, the number of tapes made in a semester, the length of the tapes, the form and content of the evaluation sheet, and the frequency of evaluation, are all elements of the system which can be changed to respect the time constraints of the class and the teacher. Giving pairs the same grade and copies of the same evaluation saves time because it eliminates the need to recognize voices. Schneider (1993, 1994) does little formal evaluation beyond fast-forwarding through the first two or so conversation tapes and giving global feedback such as reminding students to speak only English on their tapes.

We collect one tape a week from each pair of learners. The tapes vary in length (from 3-15 minutes) at the discretion of the teacher. We have developed two types of evaluation forms to meet our different needs (below). The first two examples, one from early in the semester, and one from late in the semester, illustrate a comment style of evaluation. With only two examples, this trend is not readily apparent, but our experience has been that comments such as "Speak only English," "Don't pause the tape," and "Avoid long pauses!" are not necessary after the first few weeks, which is consistent with Schneider's experience as well. Teachers may respond to individual sentences in which students have grammatical difficulties, writing corrected versions of words or phrases on the evaluation sheets in ALL CAPS.
Sample teacher evaluation sheets
(early in the semester)

WHAT'S NEW? #1, 5-30-94

--In English, you should call your classmates by their FIRST names. Otherwise, it
was a good beginning! --"Yesterday, I practicED....I HAD a good time." --"I
SPRAINED MY LEFT FOOT."
--Don't cover up your microphones to speak Japanese. English ONLY!
--"I began my PART-TIME JOB." (NOT 'arubaito') --It was very good that you asked
your partner to repeat "sprained right foot"! This is very important in
understanding one another. Good!!!
--Some long pauses. These are good times to ask follow-up questions!

English "aizuchi": Oh; I see; Yes; Uh-huh; That's too bad;-- GOOD!!!

Turn-taking: Very good!! ("How about you?")

Grade: 8/10 Good! (But some long pauses)

(late in the semester)

WHAT'S NEW? #6, 7-11-94

--"I'm not good at sports, and I don't like watching sports EITHER."
--"Recently, I HAVEN'T watched T.V. because I HAVE BEEN listenING to music."
--"What COUNTRY ARE THEY FROM?"
--Very natural and smooth conversation! Very few pauses! --"What class WILL we
HAVE tomorrow?"

Changing the subject: You are right. Don't begin with "By the way,..." It sounds
strange to begin a conversation like this (it's NOT the same as 'tokorode' in
Japanese!).

Turn-taking: "How about you?" Good!

English aizuchi: Oh; Really?; Yes

Follow-up questions/comments: "Why?"; "What kind of music?" Good!

Repairing misunderstandings: "Pardon?"; "Device?"; "What's that?"-->"It's a..."
Very Good!!

Grade: 10/10 Excellent!
The second style of evaluation is a check list from late in the semester, which also contains the directions given to the class prior to taping.
SCORE SHEET
Names: Maki Yamada, Hiroko Yoshida    Score 5

You and your partner will receive the same grade for this tape. Please help each
other. Don't worry about grammar and don't stop to use a dictionary. Just do your
best. Please be ready to hand in your tape in 10 minutes. You can earn 5 points
on this tape. If you lost points, this list will tell you why.
-1 point Used Japanese.
-1 point Conversation too short. (less than 3 minutes long)
-1 point Didn't ask "take turns" question when needed. -1 point Didn't make a
comment or ask a question to show interest in the conversation.
-1 point Didn't try to repair breakdowns.

COMMENTS:

When your partner said "I will nothing to do." you asked "You won't do anything?"
and he said "Yes." That was an excellent repair! Sometimes we can guess what
people are trying to say and ask a question, as you did, to find out if we
guessed correctly. Can we use this tape (without giving your names) to help
another class?
Results and Conclusions
To borrow an analogy from Christopher Ely of Ball State University (personal communication), learning a foreign language is like learning to play tennis. In neither case is simple knowledge of the rules enough to perform. One must have experience "on the court" along with knowledge of the rules. Those who have learned to play tennis know the frustration of beginners when one serve after another is drilled past them, and they are unable to return. This is the feeling one often gets when speaking a foreign language with a native speaker. In pair-taping however, learners play with learners; using conversation strategies, they are able to return serves and control the tempo of the game. In this way, they build up confidence to play with those on the next level. In addition, requiring learners to make tapes creates a genuine need for the strategies which we show them, and allow us to monitor their use. These self-generated and self- directed conversations give students a rare opportunity to experience themselves as successful English speakers, even though they are imperfect speakers. Since the inception of the "What's new?" pair-taping program, we have noticed a marked increase in the willingness of students to interact in English with faculty members from around the world. Furthermore, by using their own production as examples of successful English conversation strategies, learners are encouraged to learn from each other and from themselves. The end result is students who are empowered to take responsibility and control of their own English study and use.
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