For me, paired translation activities a) are not speaking activities, and b) have a purpose similar to what Justin Slocum Bailey juuuust wrote about Choral Translation, with confidence building as the primary one. This is week 3 of school, which is also the 3rd hour my students have listened to and read (i.e. received input) in Latin.
Today, I used a new update to the classic ABBA paired translation activity I’ve always known as Volleyball Translation (i.e. the role is tossed back and forth like a volleyball “pass”). This comes from Jason Fritze at NTPRS, and I used it with the following text based on events of last week’s class, which includes:
- Something funny that happened on that day, specific to each class
- Details from an Either/Or TPR activity
- sī tibi placet X, surge, et consīde Pompēiīs (i.e. Pompēiī = right side group)
- sī tibi placet Y, surge, et consīde Rōmae (i.e. Rōma = left side group).
How do we get students to speak the target language?
At least, that’s what no one disputes, though not every teacher does enough of it. The biggest misconception regarding how to get students speaking is based on the assumption that the goal—speaking the target language—must be part of the process. This makes sense, but we don’t have much evidence to suggest this is true, despite how intuitive it seems. In fact, if you want get all Second Language Acquisition (SLA) technical, in 1995 Merrill Swain—herself—called her own Output (i.e. speaking/writing) Hypothesis “somewhat speculative” (p. 125).
On June 24th, 2018, Dr. Ashley Hastings asked teachers to stop using “Movie Talk” if they’re targeting vocabulary with the intent that the student WILL acquire what we repeat. Why? It’s antithetical to Hasting’s MovieTalk, as well as Krashen’s theory. If you do that, all it Clip Chat or something. However, the natural repetition from the movie itself, or intent to make oneself more comprehensible (but not cause acquisition), is spot on, and approved under the term “Movie Talk.”
Dr. Ashley Hastings’ original MovieTalk looked a lot different from what we see today from the CI-embracing community. Instead of using short animated clips, frequent pausing, interacting with students via Personalized Questions & Answers (PQA), and reading follow-up texts (actual or parallel), Dr. Hastings would instead played longer segments of feature-length movies while narrating as part of the FOCAL SKILLS program’s Listening Module, “where class time is devoted exclusively to improving the students’ listening comprehension.”
Despite what many people think, Total Physical Response (TPR) is not just commands. A typical TPR sequence involves a) modelling an action, b) commanding, or narrating, and c) verifying with the class what happens. You can interact with the entire class, groups of students, and the individual. When you establish a gesture for a particular word/phrase, that’s TPR! You’re also doing TPR when you coach actors and narrate a scene during a class story via Teaching Proficiency through Reading and Storytelling (TPRS).
Assuming you’ve established names for two groups and the whole class (e.g. Rōma, Capua, and Italia, respectively), like what I saw Jason Fritze and Alina Filipescu do at NTPRS 2017, here’s what just two different phrases (i.e. says “oh no,” and “laughs”) can do for you: