Methodology in Language Learning: Contextualization
Some environmental, usually visual, accompaniment to heard discourse is a characteristic of most listening activities in and outside classroom.
In the classroom these environmental clues will usually be represented
by different kinds of visuals:
- ü pictures,
- ü sketches on the blackboard or overhead projector,
- ü flannel- or magnet-board cut-outs,
- ü objects.
The presence of such materials is of immense value in contextualizing
and bringing to life the listening situation as well as in aiding comprehension
of the language. I would go so far as to say that some kind of visual clue is essential
in any language-learning activity based on face-to-face communication.
Visuals have an important function as aids to learning, simply because
they attract students' attention and help and encourage them to focus on the subject
in hand. It is relatively difficult
to concentrate on spoken material that is heard 'blind', far easier if there is
something relevant to look at. If this something is conspicuous, colorful, humorous, dramatic or in motion
– so much the better: striking and stimulating visual aids are likely to heighten
students' motivation and concentration. The teacher can be her own visual aid,
of course, by acting or miming- but there is such a thing as overdoing it.
Visuals-based exercises are interesting to do and potentially very
effective, so recently published listening-comprehension books usually include a
number of examples. The trouble is that an illustration once marked cannot usually
be used again, so that constant use of books like these can become expensive.
For this reason I use a lot of home-made materials duplicated on the school's
copying machine, keeping my designs as simple as possible. Some basic sketches
can be duplicated en masse and then used for many different purposes and even very detailed materials can usually
be exploited in more ways than one.
Understanding foreign speech is a complex activity involving a large
number of different skills and abilities. It follows from this that classroom listening practice is also complex, and
that no one type of exercise - nor two, nor half a dozen - can possibly satisfy
the needs of most foreign-language students. The teacher should therefore have
at her fingertips a large battery of different exercises designed to give
practice in most, if not all, of these various skills. Moreover, listening
should be practiced very frequently, so that such exercises will be in constant
use. This is not quite so time-consuming as it sounds. Most listening activities
suggested here can be easily adapted so that they practice lexical, grammatical, or functional-notional material that is being learnt anyway in the
class.
The large number of exercise-types suggested, I have found it convenient
to organize them into subordinate categories arranged in a rough progression
from the quicker and simpler ones at the beginning to the longer and more
complex ones at the end.
One final point: sound-perception practice should be provided using a
variety of techniques, so that the students (not to say the teacher!) do not
get bored with what is, after all, a fairly mindless, if essential, part of the
language-learning process.
[1] At
what stage in the learner's progress in the foreign language should these
exercises be used? It seems obvious that a grasp of the
phonology of the new language is a fairly basic requisite for learning to speak
it, and that therefore these exercises should be used right from the start.
However, at least at the very early stages, many learners do not yet read the language well enough to be able to use
written words as a basis for sound-practice; they may not know the
Latin alphabet at all, or they may associate the letters with the corresponding
sounds in their own language. Early training will therefore have to be based on purely oral-aural work without using
written material at all. Later, the use of written forms makes possible a wider
range of exercise-types.
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