Worksheets

The seminar this week was about coming together, evaluating and critiquing the materials we had personally developed. There were a lot of very professional and inspiring examples of what we teachers can produce for ourselves. It was a terrific experience to see what people can do using ‘everyday’ tools such as Word.

The materials that I created and adapted are based on the EAP course I teach for Foundation English. Academic English acknowledges the need for students to understand and describe Processes. The scheme of work asks the teachers to build up the individual language features of process writing: passive grammar, cause and effect language and sequence markers. At the same time, students will be developing their note-talking skills, listening, and writing.

Rationale for the lesson:

This task takes place midway through the course as part of a formative assessment. The students will have performed several tasks of Bloom’s taxonomy in order to build their Knowledge, Comprehension, Application, and Analysis. This is task moves up to the next level and asks students to synthesise the work they have done before. The approach is one that is slightly more focused in order to be assessed with more validity and reliability.

The content is about chewing gum, which I feel is accessible to most students and an unusual food item that will engage the students. Similarly, video is used as input in order to combat the more ‘dry’ paper-based visual representations of processes they may have previously encountered (see adaption post). The use of audio mirrors the actual coursework method.

ingred

 

The weird secret ingredients in chewing gum – Jimmy’s Food Factory – BBC One

The students’ performance of this task will inform them, and the teacher, about their current understanding of the necessary language functions, and skills ahead of the final assessment. Initial feedback and evaluation of their work will be from peer-reviewing the notes. Peer-reviewing attempts to heighten awareness and practise autonomous reviewing of work, but has reliability issues.  Therefore, this is followed by a more formal assessment and feedback from the teacher. The final coursework has a clearly defined marking criteria that should be used at this stage too. This will give valid and reliable feedback

The lesson procedure:

The students will discuss the topic and focus on key vocabulary prior to listening. They will watch a short video describing the process of making chewing gum. While they listen they should make notes using the worksheet provided. Once the notes are compiled they will discuss and share their notes with their peers. This will lead into a writing task, where they will write an academic descriptive essay of the process.

Chewing Gum Process

First Worksheet Rationale:

Sheet One:

The first paragraph aims to remind students that they are consolidating the listed language functions and skills. This is to make sure that they start to think about what has been covered.

The ‘lesson plan’ section briefly explains the procedure of the lesson. I find that this works well with some students as it gives a structure and helps to consolidate at the end of a lesson as part of a review.

The ‘discuss’ section of the worksheet starts by activating schemata about chewing gum and asks the students to predict what they will hear. This will also start to prepare them for the language needed for the task.

Vocabulary section: chewing gum has some very unique and specialised lexis for its ingredients which might be negative distractors during the listening. Therefore, I feel it is necessary to pre-teach some of them. The portion of the video where the ingredients are described is played as a means of input for the vocabulary and also to get the students use to the video itself.

Sheet Two:

The page has been separated into the main steps that take place during the process. There are some gaps that have been filled as a means of supporting weaker students and are concurrent with the design and layout of coursework. Here a linear vertical structure has been used. This should help the students to follow the process and select the correct information for each stage.

Seminar feedback

The comments from my peers were overall positive. The task had a suitable approach, and the timing and the purpose seemed to match the task they were being asked to do. They felt that the sequence of information on sheet one was counterintuitive and that the lesson plan should be at the top/start. Overall, there was a sense that the worksheet could be more uniform and clearer (some boxes were slightly out of synch etc). On sheet two, they thought that the information given to the students (in the boxes) was over simplifying the task. From a personal perspective, on viewing the designs and effort of other peoples’ worksheets, I felt that my work looked flat and unengaging.

Final Draft Worksheet

Final Worksheet Changes:

Having followed several of Jason Renshaw’s materials-design tutorials on YouTube, I started to edit and adapt my original worksheet.

Have a look and please give me your feedback.

• I feel that the worksheet is more engaging and professional looking

• Sheet one is clear and framing the different activities and tasks helps to keep focus

• The buttons and layout of sheet one meet the expectations of other materials for ELT. However, one colleague questioned its similarity to the actual coursework worksheet.

• Sheet two has been colour-coded and a horizontal process format used. Overall, it feels easier to follow and is not as dumbed down.

• To offer differentiation, a second sheet two has been created with video exerts used instead of headings. This will help lower level students to track the progress of the process.

Principles and evaluation

The final draft of the worksheet and the lesson as a whole could be seen as a more engaging way to get the students involved in the task.The worksheet’s opening activities will activate the students’ schemata and contextualise what they are about to listen to and make notes about. The worksheet also highlights what they have practised so far and where this activity fits into their progress. This enables them to perceive its relevance and use, as well as giving a balanced approach to the progress they are making for the coursework task. The peer discussion will provide an opportunity for them to use language in order to communicate their ideas, and aid competence in this area.

The video and audio elements would support learners throughout the input. The dual-input functionality of video should contextualise the information more clearly. The note-taking exercise mirrors the demands of the final task (coursework) later in the term. Again this gives it credibility and relevance.

In terms of a pre-evaluation, the worksheet looks engaging as does the use of video for input. Analysis pre-evaluation would stand up to scrutiny because it addresses the need of the student within the macro-context of the course. The timing of the exercise works as part of the students’ progression and what they need to be able to do at this stage of the course. The approaches are both experiential and elicitative because the tasks encourage language discovery and communicative purpose (materials-as-content and materials-as-language). There are two possible sheets to aid differentiation, which addresses the possible needs of the learners.

 

Tom Ottway

Tom started by giving us a brief introduction to his current role and C.V. of materials design. The first project that he worked on was one that was free of remit and was told do what he liked. Tom mentioned that it was nice to have the shackles of a traditional coursebooks removed and could consider his own beliefs and theories behind designing and producing materials. The intended audience was for out-of-school children during their summer holidays to engage and get them to keep using English. The materials were heavily influenced by film and the presentation was clearly aimed at its intended users.

An interesting point that Tom made was about the use of video in course books and those publications trying more mixed methods and approaches to input. He suggested that some, if not most, publishers go for a 90 – 10 split when deciding on the type of materials. The 90 percent is the usual and ‘conventional’ way and 10% is a new or more experimental approach. This again is a disheartening critique of the publishing world and makes me question the idea of ‘new’ literacies that seem to be discussed a lot but not put into practice.

Tom spoke about using Brainshark, which is a presentation tool essentially. It uses images (still) and audio to great effect. The content is available online and can bring normal Powerpoint presentations to life. It also enables better pacing and contextualisation.
However, he warned that you must check the terms and conditions, “think about who owns the content?” Where is it hosted? All YouTube videos that a teacher creates and posts on the website are in effect the property of google. He believes that Photo stream with audio is as good as video. He also supports Gavin Hockly’s view that suggests Flickr with audio is a very good option and is compliant with self-created content and Creative Common laws. This is nicely linked to last week’s talk about visuals and the benefits of Flickr as a resource.

Tom gave excellent rationale for using video in the classroom for ELT:

• Motion
• Narrative
• Rich
• Authentic
• Genre rich
• Investment
• Ripe with message
• Full of life
• Accessible and mobile

Another key term that was discussed was Digestibility. This is a key factor when considering the use of video. If a video that is watched by 5 million people around the world why not use it in class?
As mentioned above the autonomy that modern technology and connectivity means that teachers and students can shift from curators of materials to creators. In general, we start off as curators of video content and hopefully can develop into creators.

As mentioned in my video post the pedagogical benefits of motion pictures need to be considered carefully. They are not just for presenting input or taking a fun ‘break’ they need to be applied as part of a structured and layered lesson plan.

Ted-ED

An absolutely invaluable piece of software that I have been using in the classroom is the TedEd website. TED (https://www.ted.com/talks) is a great resource for video content. I will let TED describe what it is and what is does so I can do it justice:
“TED is a non-profit organisation devoted to spreading ideas, usually in the form of short, powerful talks (18 minutes or less). TED began in 1984 as a conference where Technology, Entertainment and Design converged, and today covers almost all topics — from science to business to global issues — in more than 100 languages.”
Our Mission: Spread ideas
“TED is a global community, welcoming people from every discipline and culture who seek a deeper understanding of the world. We believe passionately in the power of ideas to change attitudes, lives and, ultimately, the world. On TED.com, we’re building a clearinghouse of free knowledge from the world’s most inspired thinkers — and a community of curious souls to engage with ideas and each other, both online and at TED and TEDx events around the world, all year long.”
Ted have gone one step further and have developed their own education based website (TedEd) that can stream any of the Ted talks available online and any video from one of the partner companies YouTube. As YouTube is third most popular websites on the internet, this adds a wealth of video that can be used in an interactive blended or flipped learning experience.
Flipped Learning is explained in the infographic below. Essentially, it is about flipping the classroom. The students will be asked to watch a video as a means of input prior to a class. This input will mean they are prepared and ready for in-class activities, where the teacher can spend more time and focus on what is being produced and for any gaps in knowledge. This is something that I have been keen to explore and have used over the past year or so with my classes.

flipped

TedEd allows its users to create engaging lessons based around a video from the mentioned sources. It is simple and free to use and has a catalogue of lesson available to used directly or adapted accordingly.

teded open

The format is fairly simple to follow. You find a video that you feel is relevant to your topic. The video is embedded into the ‘Watch’ section of the page. This is the immediate input at the start of the page/lesson and is in essence the primary input for what follows. The next section (if you want it to be) is the ‘Think’ section. This is where questions related to the video can be prepared. These can be open or closed, and offer immediate feedback for any misunderstanding. The input is always available and ready to be watched again if the students need to review and consolidate. The third section of a TedEd lesson is called ‘Dig Deeper’. Here is the part of the lesson aimed at giving extra input and in any form of media deemed relevant; this adds a very connective and multimodal element to the lesson. It affords the students an opportunity to discover and explore the themes and topics at a ‘deeper’ level. The final section is aimed at preparing and performing a form of discussion. The ‘Discuss’ section can be used to set up pre-class tasks, to bring thoughts together, or give more activities that will aid the work to be done in the lesson.

myted

Here is a lesson that I have created for my class. http://ed.ted.com/on/rdfdFEUG#watch

Normally, in a class I would ask the students to watch the video and make notes as the first half hour of the lesson. The second half would be spent using notes to support a discussion/debate about the topic. By flipping this model and asking the students to complete the TedEd lesson, it meant that the entire lesson was dedicated to the discussion, which is what they were being assessed and graded on. This led to far more informed and meaningful discussions, the register and level of discourse was improved greatly. This may, in part, be due to the topic being engaging. However, it is my belief that the input being presented at the students own pace, and the ability to have feedback on understanding, to research and discuss the themes being discussed ahead of the lesson has had a very positive impact.

Video

Act I

(Setting the scene and background information)

Since L’arrivée d’un train en gare de La Ciotat wrote itself into urban legend by making the audience scream and flee the cinema, so began the a public’s interest in the art of moving pictures. Their impact can be seen and felt throughout society and around the globe. The earliest use of motion pictures in the classroom occurred in America in 1910 (Snelson and Perkins, 2009). Silent films provided educators with a new mechanism for making instruction more concrete, realistic and visual. Through film, students could witness far away lands, visit dangerous places and witness natural phenomena, which is something textbooks were unable to provide to those seated in the classroom.

By the late 1920’s, a new capacity was introduced to film with the arrival of the sound (films known as “talkies”). The element of audio opened up even more pedagogical affordances for the utilisation of film in the classroom. Images and audible language exposure offered a multi-functional input stream that could contextualise language and give examples of authentic use.

Fast-forward several decades, and movie theatres and projectors were being replaced by video recording technology. This innovation extended the capacity for the professional and amateur recording of materials. Video recording and cassettes provided opportunities for more mobile input and gave greater control of editing and playback options. It became possible to escape the constraints of broadcast schedules that did not correspond to classroom schedules. In addition to this, the process of recording videotape footage of sporting events, science experiments, or local history could be easily accomplished with portable video cameras. This pathed the way for new possibilities for assessment and student-centred creation of materials (Snelson and Perkins, 2009).

The emergence of commercial videodisc players began in the late 1970s and early 80s. They introduced more advanced levels of access to material in the classroom. In addition to these more advanced features, DvDs (as we know them) gave not only greater control, but also the capacity to store text, charts, graphs and audio in addition to video. With a videodisc it was possible to jump directly to video segments without having to rewind, search, and play as was necessary with videotape (Snelson and Perkins, 2009). DvDs gave an efficiency to video input that earlier display options could not provide.

The arrival of the computer, mobile devices and the internet have been the most significant evolution of video and its use in education. In fact, media players that enable video playback on computers have existed since the early 1990s. However, video streams from online services allow users to view media instantly through the internet rather than waiting for a lengthy download or needing a disc (Snelson and Perkins, 2009). This development has meant that video input in education has gone viral (and the term “viral” has become part of everyday lexicon). Using streamed video as part of ELT materials is convenient and pedagogically advantageous. This has seen a massive increase in Massive Open Online Courses (MOOCs). It is redefining how, when and where we teach and learn.

Act II

(The current landscape)

Online video has permeated the internet and has become an incredibly popular media among its users. Teachers with access to interactive whiteboards or any device that is capable of playing streamed video will no-doubt be visiting YouTube or Vimeo for free-at-the-point-of-use materials. There has been a meteoric rise in online video content, and YouTube is ranked the third most popular website in the world (Wikipedia, 2015).

table

The wealth of available material online has drawn attention from institutions and businesses alike. For example, YouTube EDU was established in March 2009 with leading colleges and universities contributing to it as a means of creating online courses and educational content of a professional standard. At the same time, many leading publishing companies are moving their focus to more open online courses and e-publication of material.

The use of online video has not only empowered teachers, but technology has also put the student in an advantageous, autonomous position whereby they can create their own content. Some of the most significant changes are the options for video capture, editing and delivery. It has given rise to new approaches of language production and reception, such as the popularity of video-based storytelling. This has been enabled largely by innovations in video production and distribution (Robert Godwin Jones, 2012). Another shift has been the greater array of capturing options: inexpensive camcorders, built-in webcams and mobile phones. The quality of the recording devices has much improved over the years. The most intriguing new capacity for mobile-produced video is not only its quality, but also its distribution capabilities through instant connection to the Internet.

The global reach is not enough, it is the multimodality offered by online video that empowers language-learning on a greater level. The HTML ‘embedded’ code, provided with YouTube and other services, can be pasted into online discussion board posts for students analyse and respond to. Students may record video responses, link web pages, or create something and share through any medium they choose. This adds a new dimension to discussion boards and general correspondence whereby students can see and hear each other rather than simply read text responses.

Act III

(The final debate/battle)

One of the salient benefits for moving pictures in the classroom is the capacity to preserve real-world events, depict motion and change the speed of recorded phenomena. This gives instant, contextualised input and opportunities for examples of authentic language use. Video moves beyond the page of any textbook and brings events to life (authentic or re-enactment). It is this capacity that can engage and motivate students at all levels. In modern-day classrooms video input is almost expected.

The use of visual and audible input means that students have a greater range of semiotics to which to attach meaning and from which to glean understanding.The ability to navigate directly to short, focused video segments like those commonly found on YouTube enables the visual and auditory attributes of video to be exploited without losing student attention during a long-playing presentation. In contrast, there could be information overload and it may add to confusion or misunderstanding. The issue of appropriacy is a key consideration; the internet has every subject imaginable and teachers need to check before use or be be prepared when trying out ‘off the cuff’ video.

Instant, global distribution means that students can be exposed to both native speaker and non-native speaker language-use. This tallies with the idea that classrooms should not be Anglo-centric and can help students with English as a lingua franca which may be their context. A variety of input and output experiences may also benefit monolingual classes.

It is the huge scale of video resources that has made online videos so adaptable and appealing. There is probably the right video input that you need online, it is just a question of finding it. If it can not be found, there is little to stop a teacher from creating it themselves. With so many input options, video is used with all types of materials. Materials-as-content can use video to elicit discussion and debate about a topic, while materials-as-language can be used for activities such as listening gap-fills, summary writing, and language noticing activities. The same clip could be used for a myriad of different lessons and learner levels which add to its economy.

Portability, low cost, and widespread access have promoted mobile phones to a high level of importance among learning technologies. Video recording and sharing lend themselves very well to this technology. They give autonomy to the student to actively or passively engage with video inside and outside the classroom so that they are being exposed to the target language.

Zhang, Zhou, Briggs, and Nunamker (2006) conducted an empirical study that showed interactive video groups achieved both significantly higher learning gains and higher levels of satisfaction than the other three groups. This group also had random access to video content whereby they could select and jump from video clips of interest. This has similarities with the array of online video services available today.

Doubting Voices

Snelson and Perkins (2009) highlighted that as early as 1922 the pedagogical benefits attributed to educational film were based on unproven and unscientific psychological principles. Castro used phrases such as “doomed” and “swift disillusionment”, while warning against blindly accepting promises about the use of film that it is not capable of fulfilling.

Ormer (as cited in Snelson and Perkins, 2009) explained “the effectiveness of films depends on how well their content is related to a specific instructional objective. There is nothing in a motion picture presentation, per se, that guarantees better learning”.

Clark (1983) (as cited in Snelson and Perkins, 2009) wrote “the best current evidence is that media are mere vehicles that deliver instruction but do not influence student achievement any more than the truck that delivers our groceries causes changes in nutrition

Access and sharing capabilities also open the teacher and the student to copyright infringements and inappropriacy of the content. In spite of there being filters and blockers teachers can use, that fact the internet offers instant continual access to millions of hours of free video content is likely to throw up some unpleasant surprises.

A discussion about video needs to strip away the surrounding affordances that are mere add-ons. The key issue is whether using video in an ELT context satisfies the needs of the students and the task at hand. There is no escaping the potential that video has for engaging and motivating students, while offering comprehensible and contextualised input. Whether this means that learning and the acquisition of language will be improved is unclear. It is powerful part of the teaching arsenal and a great way to empower students to create their own content.

References

Bailey, R. & Dugard, C. (2007) Lights, camera, action!: Digital video in the languages classroom. London: CiLT.

Godwin Jones, R. (2012) Digital video Revisted: storytelling, conferencing and Remixing. Language Learning & technology 16 (1): pp 1-9. Available from http://llt.msu.edu/issues/february2012/emerging.pdf (accessed 2 April 2015)

Snelson, C. & Perkins, R. A. (2009) From silent film to YouTube[TM]: tracing the historical roots of motion picture technologies in education. Journal of Visual Literacy, 28 (1), 1.