Teachers As Students – Chris

Teaching, Learning, and Tae Kwon Do – Chris Mares

Chris Mares
While studying Tae Kwon Do  I have learnt a lot, not only about Tae Kwon Do, but also about teaching and learning and what it means to be a student.

Usually I look forward to the practice sessions, but not always.  Sometimes I feel anxious about my physical ability to do what I am expected to do and sometimes I worry that I may have forgotten something my instructor will expect me to know.  I have other fears, too.  For example, that I am too old to begin such a demanding activity, that I am not flexible enough, or that I won’t be able to remember various sequences of punches, blocks, and kicks known as forms.

Reflecting in this way I am reminded of the fact that my students, too, feel anxieties about their own abilities and, as a teacher, I should always remember this.

There are other important things I’ve learnt or been reminded of while practicing Tae Kwon Do.

A positive ‘can do’ attitude is vital for teacher and student alike.  The feeling of being in the learning process together as an ‘us’ is key. More specifically, the feeling that teacher and student are involved in a joint project to practice and learn in a non-competitive atmosphere and one of mutual support.  In Tae Kwon Do all this will is done in an informal atmosphere but one which is respectful and polite, and one in which the teacher is in charge.

I am also reminded as I punch, kick, and block, that learning takes time, effort, a willingness to take risks, and that it can only happen one step at a time.

When we practice in Tae Kwon Do we often work in pairs with someone of a similar level.  Occasionally I have felt that I would rather be practicing with my instructor, or at least while being observed by my instructor.  However, over time I have realized that all practice is useful.  It is also useful to help others who are not yet at the same level.  Teaching is an effective way of consolidating one’s own learning.  I realize that this is something my English language students need to learn – practice with peers helps.

Repetition of moves in Tae Kwon Do is essential for muscle memory, and to give the mind the space to focus on the next step to be internalized. Our instructor leads the drills and stops occasionally to correct a stance or model a movement.  This type of drilling leads to automaticity.   Although drilling is not necessarily in vogue in language teaching there is still the same need for automaticity.  Meaningful and continued recycling and practice will lead to this.  The correction and feedback the instructor gives is also at a meaningful level, the tendency being to focus on one point at a time.  This reduces anxiety for the student.  This is something I try to remember as a teacher.

Modeling must be clear and broken down into stages.  Students cannot focus on everything at a time.  Input must be comprehensible and students can only learn at the point they are at which is to say it’s pointless to expect a student to achieve what is not possible at any given point in time.

As I mentioned, the tone of my Tae Kwon Do class is informal.  It is also non-competitive in the sense that students are only required to do as well as they can and that if someone can’t do something, they can either not do it, or try to modify what is being practiced.  This allows for a sense of security and thus a lowering of the affective filter.

Each class follows a similar pattern.  We begin with a brief period of meditation, followed by some stretching and warm up activities.  This is followed by basic technique practice which in turn is followed by the practice of forms.  This structure sometimes varies and may include practicing rolls and falls, or sparring, or one steps, which is the practice of attack, counter attack.  Like the good language classroom, there is a sense of consistency but not predictability.  We practice in the knowledge that everything our instructor does with us will help us.

The teaching model in Tae Kwon Do reminds me of an apprenticeship model.  A new student will line up with the other students and simply try to follow along as best they can.  The instructor or a more senior student will give pointers and support for the new student at an appropriate level. Over time the new student will pick up the various punches, kicks, and blocks and then begin to practice forms and other skills such as sparring.

The most important thing I have learnt as a student is that my own attitude is key.  If I view all aspects of the class as an opportunity to practice, learn or help, then I will practice, learn or help.  I feel this way in part because that is clearly what my Tae Kwon Do instructor expects.  By extension I realize that I may have more impact on my students motivation as teacher than I had previously thought.  My expectations need to be clearly articulated, my enthusiasm needs to be apparent, and all students need to know that I am there for them, to help them do the best they can.

 

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Challenges, Project and Opportunities – Chris

Professional Challenges: Looking Back & Looking Ahead
– Chris Mares

Chris Mares
When I began teaching, the challenges I faced unsettled me and caused stress and anxiety, not to mention sweaty palms and a racing heart.  This was natural for someone aged 21 with no formal training, plunged into a country he had never been to before to teach students whose native language and culture he was not familiar with.

Decades later, in another country, and with another nationality it is the challenges of teaching that I find the most interesting and rewarding aspects of the job.  That is where the heart of our mission lies, in the recognizing and overcoming of challenges whether they are internal or external.  To do this we must be honest, reflective, and creative.  We need to think rigorously, take risks, and find fresh ways to understand the world.

Although I didn’t realize it at the outset, of course, my biggest challenge was myself.  Or, more specifically my naïve and somewhat blinkered view of the world and my inability to step back and critically observe myself and everything I encountered.

Perhaps the most important point to bear in mind is that whatever context you find yourself working in, there will necessarily be constraints and possibilities.  The trick is to be able to understand the nature of the constraints and also to see the range of possibilities, even if they aren’t immediately apparent.

Let’s consider challenges in ELT from the perspective of the key issues in ELT:

How we view language

How can language best be described or organized for teaching purposes?

How can language be graded?

How we view language learning/acquisition

How is language learned or acquired?

What conditions are necessary for learning and acquisition to occur?

How we view learner

Is a learner and empty vessel to be filled?

What do learners bring to the classroom?

How can we build on what learners already know?

Are there different types of learners?

What needs do our learners have?

How can they be classified?

How do these differences impact our teaching or the materials we use?

How we view teaching

What is good teaching?

What are the principles on which good teaching is founded?

How teacher centered should teaching be?

How do we evaluate teaching?

How we view teachers

What is the role of the teacher?

How independent should teachers be?

What responsibilities should teachers have?

What norms should teachers conform to?

The contexts in which we teach

How will the contexts in which we teach influence what or how we teach?

What are the positive or negative factors related to the teaching context?

How can these be capitalized on or offset?

The materials we use to teach

What are good materials?

What principles should they based on?

What are the advantages and disadvantages of commercial materials?

How much teaching materials should teachers be expected to develop themselves?

The way we assess students

When? Why? How?

What are the different ways in which we can assess students?

What are the advantages or disadvantages of different ways of assessment?

By considering these key issues in English language teaching and the accompanying questions that naturally follow, we have a framework for approaching many of the challenges we face as teachers.

A final suggestion I have comes from Adrian Underhill and pertains to ‘low yield’ questions versus ‘high yield’ questions.  Here as a scenario that illustrates what I mean.  A teacher has prepared a class that she feels will be engaging and useful, one that focuses on her students needs and interests but for some reason the class is a complete flop.  The teacher is forlorn and frustrated and asks herself, ‘What’s wrong with them?’  This is a ‘low yield’ question.  A ‘high yield’ question would be, ‘How could I have approached that lesson differently so that the students became engaged and interested?’  Whatever challenges we face we should always search for the ‘high yield’ question.

To overcome most of the challenges we face it is necessary to take a step out of oneself, to exhale slowly and let go of ego and emotion and then to work through a series of questions such as these.  In my experience there is always a solution and it is simply a matter of working through the situation in a rigorous and principled manner.

 

 

Myths, Beliefs, and Truth in ELT – Chris

Myth, Belief, Truth
Chris Mares

Chris Mares
The words myth, belief, and truth are all very powerful and evocative.  They connote many different things and are also quite confounding.  After all, I may know what a myth is, but what do I believe? And, what do I know to be true?

After several lengthy dog walks in the woods near my house mulling how these words relate meaningfully to my teaching, I have will start with a simple definition of each, an example of each, then a rumination on qualitative truths:

 

Myth – A widely held but false belief or idea

It is a myth that there is a single best way to teach language.

 

Belief – Something one accepts as true

I believe all students can be inspired to learn.

 

Truth – That which is true or in accordance with fact or reality

It is true that students will learn despite what I do.

I will take these three statements as my call to action.  If there is no single best way to teach language, then the door is open!  There must be more, two, three, four … lots.  If this is the case then I should find out more, experiment, take risks, and see what I can discover.  By the same token, if I believe that all students can be inspired to learn then I must take each student individually and find a way to inspire them, accepting that not all students will be inspired in the same way, but that one or more way will inspire them.  And finally, if it is true, and it is, that students will learn despite what I do then this, like the myth that there is a single way to teach language, is also a tremendous permission to get creative.

There are more truths, though.  These truths are the ones that come to us over the course of our time as teachers.  I feel these experiential truths, which cannot be quantified, and therefore are not empirical, are still valid and I shall explore ones I feel are significant for me, and perhaps for you, too.

 

All students deserve the teacher’s attention

It is easy to respond to the students who raise their hands, who answer question, who do their work, and are clearly interested, and enthusiastic.  But there are other students, who, for whatever reason my not be as engaged or as clearly interested.  These students deserve the teacher’s attention, too.  It may not be as easy to lure them out, or inspire them, or get them focused but it is our job to do this.  For all our students.  It takes effort on behalf of the teacher and a sensitivity to what may lie behind the seemingly passive or disinterested face.  However, one of the great rewards of teaching is to get a disinterested learner interested.

 

No two classes are ever the same

I used to teach large university classes in Japan and would often be using the same course book with two or more classes.  Many times I taught the same unit to three different classes in one day.  After a while I noticed that a unit I had successfully taught to one class would fall flat in another.  It struck me as odd that the same lesson plan could work with one class and not with another.  It took me a while to realize that the variable I had forgotten to factor in to my planning was the particular chemistry of the class itself as well as the individual members of the classes.  My automaton approach was focused on the lesson plan and the material to be covered, and not on the students themselves and how the material may have needed to be modified or presented differently according to the specific class being taught. It’s always about the students.

 

There will never be a class in which all students are ‘the same level’

In my early days of teaching I craved classes where all students were at the same level.  I found it constantly frustrating that this was never the case.  Then, inspired by Adrian Underhill, I turned my ‘low yield’ response to a ‘high yield’ question.  My response had been, ‘If you guys were all at the same level, then my life would be so much easier.’  My question then became, ‘In what way could I change my teaching in such a way that I could reach all of you?’  This was a moment of profound realization that changed my approach to students and teaching in a wonderfully rewarding way.  It made me ask the deeper questions.  Rather than stating to myself, ‘Well that didn’t work,’ I would reflectively ask myself, ‘How could I have done that differently in a way that would have been more productive or interesting for students?’

 

Teaching is an art

Successful teaching requires the balancing of a complex set of variables that are often in a state of flux themselves.  To be able to achieve a balance that results in efficient teaching and meaningful learning is an art.  It takes time to achieve competency and longer to achieve mastery.  Moreover, risks must be taken and mistakes made.  This is how we learn our craft.  Our art.

 

A lesson plan is a guide not a contract

Teachers are often trained to plan lessons in terms of goals and objectives and to frame classes according to time spent on presentation, practice, and production.  This is understandable, especially when working within the constraints of an imposed curriculum.  Teachers are less often trained to look for moments of serendipity when a chance occurrence may lead to the possibility for temporarily abandoning the lesson plan when a teaching moment occurs.  To view the lesson plan as a guide and not the be all and end all is a healthy perspective to take as it allows for creativity and also a degree of unpredictability.

 

Trust is the key

In order for students to improve mistakes must be made and it is important to encourage students to take risks with new language.  In order to do this students must feel safe which means they have to trust that their teacher is there to support and guide them and not to penalize them for making mistakes.  Positive reinforcement in a trusting atmosphere leads to efficient learning which is what we are after.

 

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The Leadership Issue – Chris

Chris Mares

Leadership: Reminders To Myself
Chris Mares

 

I will limit my post to what I have learned in my leadership position.  The following tips are like reminders to myself.  They didn’t come to me in a blinding flash but were learnt over many years.

Set the tone. The leader sets the tone for the institution.  Everything you are and everything you say and do will contribute to the tone of the institution you work in.  In this way a leader sets the standard and is the model upon which others will gauge their choices.  If you are timely, cordial, organized, and well presented, this sends a message not only about who you are, but also about what you value, and more subtly about what you expect.

Be committed. Model what you expect.  Your commitment to your institution, colleagues, and students will earn the respect of your colleagues.

Be informed. Stay up to date.  Read current journals, blogs, new publications.  Attend conferences, workshops, etc.

Inform. Suggest or circulate pertinent readings/blogs/websites that you believe your colleagues will find interesting and useful.

Be organized. Prepare for meetings.  Have agendas.  Be punctual.  Stay focused.  Keep minutes.  Don’t just decide something will get done.  Get names and agree on realistic timelines.  Keep records.

Be consistent. To earn the trust of others you must be consistent in your leadership.  You must model that you will listen and that others’ opinions are valued. If you say you’re going to do something, do it.

Be respectful.  Treat everyone with equal respect. Be positive in your dealings with colleagues and students.  Give everyone the time they need.

Delegate. Don’t try to do everything.  Learn to trust others.  Use their strengths.  If you are a big picture person, then find the person who is the detail person and work with them, etc.

Be positive. A positive attitude is contagious.  If you are motivated, interested, and energized, this will rub off on your colleagues.

Be available. Have set office hours or a clear protocol for holding meetings.

Listen. Being a good listener is vital.  This doesn’t just mean giving someone the time to say what he or she needs to say.  It means actively trying to understand another’s needs and wishes.

Deal with problems when they come up. Don’t go into denial. Get on it.  Problems need to be solved and the best way to do this is with the belief that all problems can be solved constructively.

Follow up. If you say you’re going to do something, do it.  If someone has come to you to discuss an issue, check in later, and see how that person is doing.

Be aware of your shortcomings. We all have shortcomings.  No one is perfect.  Accept your skill set for what it is and build on it.  Work on your shortcomings consciously and deliberately.  Own them.  Don’t be defensive.

Be honest. Be honest with yourself and with everyone else.

Be realistic.  Setting realistic goals for yourself and others is important.  Decide what is achievable, how it will be achieved, when it will be achieved and who is accountable.

Be flexible. There’s more than one way to skin a cat.  Listen.  Your way may be good but someone may come up with a better way.  It’s the better way that’s important.  Park your ego, give credit where credit is due and make changes that need to be made.  It doesn’t always have to be your idea.  If it’s someone else’s, give that person credit.

Be fair. No favorites.  Workloads should be fairly distributed.  Rotate responsibilities. Make sure everyone gets opportunities to try new things.

Be clear. Leave no doubt as to what you need and what you expect.  Give instructions carefully and clearly.  If you have done this verbally, follow up with a written confirmation.

Remain accountable.  Do what you say you’re going to do in a timely fashion.  Admit to any mistakes you make.  Own them.  Your honesty will help you gain the trust of your colleagues.  Expectothers to remain accountable, too.

To sum it all up …

Being an effective leader is neither straightforward no easy but there are rewards. I believe that honesty, respect for others, and consistency are key components, coupled with a positive attitude and a genuine interest in and concern for the mission of the institution or the group being led.

 

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The Creative Writing Issue – Chris

Chris Mares

Ready To Write – Chris Mares

I vividly remember my first experience with creative writing in the classroom.  I was a lower sixth student at Lewes Priory Comprehensive School in the summer of 1975, sitting in young Miss Matthew’s English class.  It was a beautiful, blue-sky morning. I was watching a mini-skirted girl I vaguely knew from the upper sixth walk by outside, a chill of desire in my belly, exacerbated by the smell of patchouli exuding from Miss Matthews as she lent towards me, her long, thick black hair almost touching my face as it tumbled over her white of her hippy blouse.  I was in love.

But not with Miss Matthews.

“Are you listening Chris?”  Miss Matthews asked.

“Yes,” I said, instinctively.  Though I wasn’t.  Not really.

“Then write something.  How does it make you feel?  What does it do to you?”  Miss Matthews paused, then stood and moved on to another student.

We were listening to Lou Reed’s album Transformer.  Miss Matthews had told us, as she put the vinyl album on the record player, that we were going to listen and write.  The class sat in bemused disbelief.  We’d never done anything like this before and I had felt that Miss Matthews just couldn’t be bothered to teach us anything.  I had stared at my paper as the needle touched the vinyl and the music began.  Nothing happened.  My mind, though, was unknowingly awash with untapped creativity.  It could all have gone very differently.

There are powerful reasons for using creative writing activities in the classroom but there is also a need for structure and procedure.  Miss Matthews, though her intention was good, had plunged us in too quickly.  She had not led us to the point of creativity.  Our schema had not been raised. We were at sea, at a loss.

Alan Maley, in his excellent piece Creative Writing for Students and Teachers draws a distinction between expository writing and creative writing pointing out, importantly, that creative writing draws primarily on the right side of the brain, the side associated with intuition, feelings, and creativity, as opposed to the logical and analytical left side.  For many students the switch in focus from the instrumental requirements of expository writing to the aesthetic permissions of creative writing can be extremely rewarding and thus motivating.  For a student to produce an original poem, for example, results in a feeling of deep and genuine satisfaction, especially for beginner writers with a limited language repertoire in English.

I would argue that building creative writing into students’ writing experience from early on will help with their self-esteem and self-confidence as well as help them develop strategies such risk taking and that will help them become more effective language learners.

Creative writing also fosters an understanding of the playful nature of language that is common to all cultures yet rarely touched upon in most classrooms.  In our stories we play with collocation, connotation, and puns, for example.  We also bend and stretch rules.  This is all part of the fun and joy of language.

At its most basic level creative writing activities for the classroom can involve simply completing a stem sentence.

I wish I was good at …

I wish I knew how to …

I wish I could visit …

I wish I could speak …

It can also involve the addition of words within the structure of a poem.

First name

Who wants (three things)

Who loves (three things)

Who feels (three things)

Family name

Or

I am (two special characteristics you have)

I wonder (something you are curious about)

I hear (an imaginary sound)

I see (an imaginary sight)

I want (an actual desire)

I am (the first line of the poem repeated)

Another fun form is the acrostic where students read a word vertically, in this case, ‘love’, and then write a phrase related to love beginning with each letter of the word love.

Longing to see you

Over the moon

Very happy

Enjoying your warmth

A Favorite Creative Writing Activity

Short poems or haiku can be very evocative and be used as the basis for creative writing exercises.  A favorite of mine is Alan Maley’s haiku, Thinking of You.

Thinking of You

Thinking of you

Twenty nine thousand feet below

And eight years ago

Procedure

For any creative writing activity to be effective students need to be interested and engaged and their individual schema need to be raised.  The way to do this depends on the particular class but a generic way I have done this is as follows:

  1. Ask the class if anyone likes to read.  Establish what people like to read, whether they are reading anything at the moment, whether they read for pleasure, etc.
  2. Ask the class if anyone likes to read poetry or has read any poetry, or has even written a poem.
  3. Tell the class that you are going to read them a short poem and you want everyone to close their eyes and just listen and see what they see in their mind as you read the poem.
  4. Read the poem slowly.
  5. Tell the class you are going to read the poem again and this time students are going to write it down.  Having done have students in pairs take turn reading the poem to each other.
  6. Next write the following questions on the board:  Who wrote the poem?  Where was this person when she or he wrote the poem?  Why did they write it?  Tell the students there is no right answer and encourage them to be creative.
  7. Have each pair share their ideas with the class.
  8. The next phase depends on the creative license of the teacher.  In my case I tell the students I know who wrote the poem and what it’s about.  Ask students if they’d like to know more.
  9. Tell them that Alan Maley wrote the poem.  This is true.  What follows is my own embelishment.  Tell them that Alan used to work in India and at one point he was flying home to England when the captain said, “If you are sitting on the right hand side of the aircraft and you look out of the window you will see the city of Florence.  I tell the students that Alan looked out of the window and suddenly memories from the time he lived and worked in Florence come flooding into his mind.  He takes out his notebook and almost without thinking writes the haiku.
  10. I then tell the students that each of them is Alan and that when they get home, having written the poem themselves about a relationship he had once had with ‘Julia’, he decides to take action.  We then brainstorm what he could do, for example:  google Julia, find her contact information, text her, email her, write her a letter, call her, return to Florence and try to locate her.  Having established a range of possibilities, have students in pairs work on one of the courses of action Alan could take.
  11. Students are then given time to write a text, email, letter, dialog, etc.  If there isn’t enough time then the class can work together under the teacher’s guidance.
  12. After students have completed their task have them share with the class.

As an aside, I emailed Alan Maley a couple of days ago to verify that Thinking of You had been written by him.  Here’s what he said:

Dear Chris,In haste, as I am in Mexico on my way back to UK.

Yes, it is my haiku.  And thanks for using it!

All the best

Alan

I am sure Alan would be happy if you used his haiku, too.

Visualization

In order to foster creativity it is useful to build visualization activities into one’s repertoire.  Here is a generic visualization activity:

  1. Tell students to relax and close their eyes.  Tell them that they are going on an adventure.
  2. Tell students to imagine that they are standing on a street in a town they know.  Ask the students what time of year it is/day it is/what the weather is like etc.  Have them make notes.
  3. Tell the students that they are now walking along the street and they hear a noise. Ask them what the noise is.  Have them make notes.

The ‘story’ continues to be shaped by the teacher but is written by the students.  There is clearly a lot of latitude for creativity by both the teacher and students.  Students can be steered towards producing dialogs and therefore practicing the use of direct or indirect speech.

Some suggestions on the use of Creative Writing activities in the classroom

If students are not used to activities that require creativity it may take some time to train them to feel comfortable and let go.  This is understandable.  With this in mind it is worth building creative writing into one’s teaching repertoire, once a week for example.  Make sure tasks are completed and that students share their writing either in class or have their writing displayed either in the classroom or electronically.  This will motivate students as they will feel invested and validated.

The stem sentences can all be altered according to the students’ needs, level, and interests.  It is also fun to play with forms of poems.  Extra lines can be added, prompts changed, etc.

The language learning benefits from creative writing are clear.  Risk taking benefits learning as does playing with language and learning about collocation and connotation through experimentation.  The rewards are clear: personal pleasure, an increase in self-confidence and self-esteem and a resulting increase in motivation.

Returning to Miss Matthew’s classroom all those years ago.  I wonder if the class might have gone differently the class had a more structured flow.  Miss Matthews could have pointed out that it was a beautiful day.  She could have asked us what made it beautiful.  She could have asked us to write down what would have made it perfect.  We could have shared answers with each other, then as a class.  Miss Matthews could then have told us she wanted to listen to a song with our eyes close and to try and picture the song based on the lyrics and the feel of the music.  She could have asked us to imagine the people in the song, where they were, what they were wearing, what they were saying.  She then could have selected one track, Perfect Day, and we could have listened.

After that, our schema raised, our minds dancing with imagery, we would have been ready to write.

References

Maley, Alan, Creative Writing for Students and Teachers in Humanizing Language Teaching (Issue 3, June, 2012)

Ur, Penny & Wright, Andrew,  Five Minute Activities, (CUP 1992)