NTPRS 2017 Resources

Here are links to my Thursday and Friday NTPRS presentations, and related posts for a) those who attended and are interested in reading more, b) those who slept in past 8am (I am slightly envious of that), but wanted to attend, or c) those who weren’t at the conference at all, but find the topics interesting just the same.

Presentations:
NTPRS 2017 – No Prep Grading & Assessment (PPT)
NTPRS 2017 – Same Skills Different Game (PPT)

Related Blog Posts:
No Prep Grading & Assessment

Same Skills Different Game

Chapter 1: Paramount

I was sitting next to my friend and NTPRS travel buddy, Angie Dodd, as she read Rūfus et arma ātra to pass the time on the flight down to San Antonio. I’ve observed Angie teaching Spanish in VT, and she’s great. Angie took a few years of Latin back in high school, but remembers very little other than the opening lines of some Caesar, and Cicero (which she had to memorize, of course). “I feel like I’m reading more fluently by page 28,” she said. Truth.

In a novella with only 40 words, most of them will have been read long before the end of the book. It should be no surprise, then, that the most frequent words occur within the first chapter or two. This explains why reading the book actually became easier as Angie continued. This can be applied to all novellas that shelter (i.e. limit) vocabulary, and those with the lowest word counts have most of their words front-loaded within the first chapter or two, also obvious in my other books, Pīsō Ille Poētulus, and the latest, Agrippīna: māter fortis .

Therefore, if students feel the most strain in the first chapter or two, perhaps we should begin novellas together. Laurie Clarcq would often read half a novel together as a whole class before it would go on the Free Voluntary Reading (FVR) shelf. The rationale being that those interested/hooked will pick up the book to find out how it ends, and those disinterested will have a better chance of reading something else they find compelling.

BTW, Angie decided to reread the Rūfus—having had meaning established on the first pass—knowing that she would then “actually be able to read.” She did, with chuckles throughout.

CI is amazing, isn’t it?

p.s. Rūfus was inspired by Mira Canion’s El capibara con botas containing just 55 Spanish words. That book was a breeze and a blast to read, and I knew that Latin students needed something like this. Granted, the word count figure excludes a lot of Spanish cognates (twice as many?), but that seems to be the industry standard practice. For Pīsō, however, I strayed from this practice and instead chose to include cognates in the word count figure of 108 since I don’t believe cognates are necessarily transparent. I also excluded the ~30 additional meanings established in footnotes, as well as all different forms of words (e.g. est and esse) that students encounter when unsheltering (i.e. not limiting) grammar. Agrippīna has ~20, and Rūfus just ~10 additional meanings established in footnotes. If the word count figures irritate you, it’s fine to say that while Pīsō has under 150, Agrippīna has under 90, and Rūfus has under 50 words—figures still worthy of note!

Agrippīna māter fortis: Published

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Agrippīna māter fortis is the latest addition to the “Pisoverse” novellas (i.e. Pīsō Ille Poētulus, and Rūfus et arma ātra) with Piso and Rufus’ mother in the spotlight! Agrippina wears dresses and prepares dinner like other Roman mothers, but she has a secret—she is strong, likes wearing armor, and can fight just like her husband! Can she keep this secret from her family and friends?

It was clear from the beginning that a novella with a strong female lead role was to be written. Agrippīna can be read as pure entertainment, or used as content for more serious discussions in the classroom about the role of women in antiquity, social norms, and contemporary issues with gender inequality.

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“Teaching practice X is at least as supported as Y.”

I read this statement somewhere recently about researched teaching practices:

“X is at least as supported as Y.”

Since we’re talking about something that affects students, I’d begin by asking the kind of questions Eric Herman includes with each of his memos. Then I’d move away from data, and instead consider practical classroom applications, as well as personal observations and reflections (of both practices X and Y when applicable).

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What CI Isn’t

CI is not optional.

For language acquisition, CI is necessary, and no one disputes it. For full inclusion of all students, no one can deny that tapping into what every human is hard-wired for (i.e. language acquisition) is the more universal practice and responsible choice as educators.

CI is not a method or strategy.

The messages students listen to or read are received as Input. When students understand those messages, they receive Comprehensible Input. Continue reading

Rūfus et arma ātra Audiobook

The Rūfus Audiobook is available now on iTunes and Amazon, but it’s better to download from Band Camp! Alternatively, I can mail it to you on a USB Drive.

Use the Audiobook for practical classroom listening activities (e.g. dictations, listen & draw, listen & discuss, etc.), for exposure to a different Latin speaker (which also means a break for YOU), and of course, pure entertainment! In addition, Tracks 10 to 16 feature 20% faster speaking in order to build fluency, or to challenge older students you *think* are way beyond Rūfus.

This is not just audio. There are pauses and sound effects to aid comprehension, drum sounds during page turns, and intro/outro music for ambiance. The sound effects were free online. I composed the music, and recorded the voices (with special guest, Marina Papaiakovou, as Rufus).

Here are excerpts from each chapter:

  1. Intro music, and first page of Chapter 1
  2. Piso, page turn, and Rufus in Chapter 2
  3. Narration, sound effects, page turn in Chapter 3
  4. Romans cheering, Oenobatiatus, narration, and outro music of Chapter 4
  5. Page turn, narration, Rufus, and outro music of Chapter 5
  6. Narration, sound effects, Oenobatiatus, “male olet” scene w/ Rufus, gladiators, and Oenobatiatus, and a page turn from Chapter 6
  7. Narration, and sound effects from Chapter 7

 

Lance’s thoughts on Lance’s Criticism of “Can’t Read Greek…”

Lance Albury just left a comment on my post, “Can’t Read Greek—Unsurprised but Angry.” I must say that I get a Highlander kind of feeling whenever I cross paths with another Lance—which is quite rare—so I’m not surprised that Lance and I hold opposing views. We have different definitions and assumptions about the nature of language, language teaching, and education, more generally. This post highlights those differences.

Not meaning to be insulting, but I believe your position on reading ancient Greek is simply naive.

Lance is not off to a great start. He thinks that I have a lack of experience, or poor judgment, which means any response I give is likely to be dismissed. This is the reality of supporting your practices when someone already believes you have no idea what you’re talking about—one of the greatest obstacles against mainstream acknowledgement of CI.

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Picture Talk: A Discipulus Illustris Follow-Up

Adriana Ramirez shared videos of her and her students doing Picture Talk on Facebook. I apologize if you can’t see them, but the reality is that most of my professional groups have now migrated to FB, which is becoming THE way to remain current in the field, apparently.

Adriana used old family photos for Picture Talk topics of conversation (keeping in mind “conversations” with Novice language learners are interactive, yet require just a few words from students. The teacher—to the dismay of evaluators in the dark—SHOULD be doing most of the talking, here). Once her students developed a higher proficiency level by the end of the second year, she had them bring in their own pictures to talk about. I find it amazing that Adriana continued to provide input, and encourage interaction all throughout the “presentation” of the main student by engaging the class with questions, and checking back in with the main student—basically using Storyasking actor questioning techniques. In a more conventional rule-based language classroom, the teacher would be hands-off, and other students likely bored after 5 or 6 presentations. Not in Adriana’s class.

I instantly thought of how this could follow up Discipulus Illustris (one of 7 language versions of La Persona Especial). Although Adriana had second year students do the presenting, you could do this early on with students of lower proficiency—just be the one providing input and encouraging interaction. To do this, a student emails you a pic to use as a prop. Yes, students are great props, but something novel to look at should grab the attention of others just because it’s different, and fools the mind into thinking the activity is completely different while you could be asking the very same Discipulus Illustris questions about the picture!

I love how it’s no-prep. Actually, it’s can’t-prep, which is exciting on its own. Sure, you could preview the pic (especially if you have students engaging in tomfoolery often), but part of the fun is keeping it lively with unexpected, compelling diversions from what is likely a boring school day. Teachers need to feel energized as well, so try something new.

Free Writes: Who can write the…FEWEST?!

Whether it’s the first Timed Write (e.g. Free Write, or Story Retell) in September, or the final one during the last few weeks of school, you can turn any writing prompt into a game that everyone can participate in, with…

“Who can write the fewest words, but say the most…about X?”

What is X? Anything; describing oneself, TV show, sports match, or expressing thoughts on first days of high school, summer off, or graduating. The best part? This is a Personalized Questions & Answers (PQA) springboard.