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I give English one to one tutoring classes as well as ONLINE English Courses.
I realize what YOU need to succeed in English. I know the essential skills you need to grow to suit an active communicator in English.
My classes are for students who want to use a most proficient approach to get fluent in English fast by practicing English Skills. Training is a subconscious process and is faster than conscious learning.
Being capable of putting across effectively is the most important of all life skills.
Communication is merely the act of transferring information from one place to another, whether this is vocal, written, visually or non-verbally (using body language, gestures and the tone and pitch of the voice).
How well this information can be transmitted and received is a measure of how good our communication skills are.
Training your English communication skills can facilitate all aspects of your life, from your professional spirit to social gatherings and everything in between.
Conventional methods of learning English exemplify passive learning with a limited success rate. I firmly trust in Active Learning of English Skills which is much more efficient than passive learning.
These are the primary disadvantages of passive English learning
- The major weakness of passive education is that it splits the language into different components – reading, writing, listening, grammar, and pronunciation – which you try to learn separately.
- When learners are not actively involved in the class, they continue to think in their native language. Whatever the instructor explains to them, they try to interpret it in their mother tongue. It becomes nearly impossible to process the information intuitively or spontaneously.
- Because learners aren’t taught to think in English, they are unable to communicate in English.
Active learning helps students start speaking English confidently in less than a year.
Active learning is more than just listening: it involves the active participation of students. They must use the language all the time and be emotionally involved in the process.
We call for the conversion from Passive Learning to Active Training English Skills
As a language teacher, I use all kinds of tricks just because making students speak and building their self-confidence in keeping the conversation going is the most essential for me.
When I teach Polish, my foreigners and I have to speak only Polish, and also my English classes are run entirely in English. I train without a bridge language.
This signifies they are required to forget about native language and start speaking as well as intending in a foreign linguistic communication. Thinking in a foreign language, this is just what I want my learners to achieve.
My students learn the words in different contexts, mostly singing phrases, expressions, collocations, idiomatic expressions, phrasal verbs also telling tales. Moreover, I inspire them to talk to everybody, even to themselves in a foreign language. Consequently, they can communicate as well as discuss a variety of beautiful narrations.
Many teachers spend most of their time altering each other’s errors.
Nevertheless, I correct only fundamental errors, as I don’t want students to stop talking. I also encourage my learners to listen to songs, watch movies with subtitles in a language they learn, read a lot and so forth.
- The most important is to deliver comprehensible input. We improve the language when we understand it.
I am very much against the support in the native language.
- Learners spend more time dynamically speaking English when we convince them, for working students.
I also develop an environment for gaining all language skills – reading, listening, speaking, writing, and pronunciation at the same time. Learners experience everyday situations again entirely in English.
- The mobile is an obvious choice for delivering information. It affords pupils access to reading material both in the course of educational activity and after the class of a written report. It covers support for sharing sessions with friends or teachers, which is essential for digital learners.
The lessons added by a teacher allow building an active connection between everyone.
As a result, I as an English teacher achieve a perpetual change from passive learning to the active, improving English skills.
Thank you for reading and watching.
Wishing you all the best,
Halina Ostankowicz- Bazan
- Brookfield, S. (2000). Adult cognition as a dimension of lifelong learning. In J. Field &
- Cisero, C. A. (2006). Does reflective journal writing improve course performance? College Teaching, 54, 231-236.
- Developing Language Objectives for English Language Learners in Physical Education Lessons. Clancy, M. & Hruska, B. (2005).
- Dewey, J. (1933). How we think (Revised). Boston: D.C. Heath.
- Duckett, H. (2002). Smoke and mirrors? Evaluating the use of reflective practice as a management learning technique.” Education-line database, December 23.
- Effective Instruction for English-Language Learners. Protheroe, N. (2011).
- English Language Learners: A Policy Research Brief produced by the National Council of Teachers of English. NCTE. (2008).
- Instructional Models and Strategies for Teaching English Language Learners. Center on Instruction. Moughamian et al. (2009).
- Shulruf, B. (2011). Do extra-curricular activities in school improve educational outcomes? A critical review and meta-analysis of the literature. International Review of Education, (56),591-612.
Is English a Global Language?
The contentious issue of (non)nativeness remains unanswered.
Nowadays, being an NNEST or NNEST should not count but rather teachers’ professional capabilities.
The presentation provides a forum for reflection and discussion about NNESTs.
We should value professional and personal qualities over ‘nativeness.’
The skills and qualities that make an effective language teacher are the most significant.
Both ‘NESTs’ and ‘NNESTs’ are expected to be competent teachers, each with excellent professional skills.
What can non-native English-speaking teachers (NNESTs) perform better?
What can native English-speaking teachers (NESTs) manage better?
Study and practice English listening, speaking, reading, and writing skills with a focus on listening and speaking for basic communication. regarding everyday-life situations, feeling and opinion expressions, role-play performance as well as basic grammatical structures and usage.
Learn how to talk about everyday-life situations, feeling and opinion expressions, role-play performance.Understand basic grammatical structures and the usage.
The course is for Elementary to Intermediate Levels.
After completing through this course, students can be able to:
- introduce themselves and someone else to others;
- ask for and give directions accurately;
- describe the features of things, places, and people;
- ask for clarifications appropriately;
- make and respond to invitations and suggestions appropriately;
- express feelings as well as opinions towards the given situations;
- apply knowledge to advanced English courses or further study;
- use language expressions to deal with everyday situations;
- have positive attitudes towards learning English.
Teaching Methods are based on Teaching with Technology Approach
- PPT with introduction to the topic/ Lecture
- Group /pair/individual tasks
- Presentation and discussion
- Additional assignments and supplementary worksheets
1.1 Attendance and participation
1.2 Speaking test
1.3 Worksheets and assignments
Final Interview / Spoken Examination
Most of all, I want my students to experience some immediate success in conversation in English. Small, speedy success helps learners to communicate in their foreign language and also motivates the student to keep studying.
It is necessary because language learning is a long, difficult task that requires persistence.
Improve speaking competence and English fluency.
This course is for Pre-Intermediate to Intermediate English Language Learners.
After completing this course, you will be able to:
- Improve speaking competence and English fluency
- Increase your communication efficiency
- Clarify and ask Questions politely
- Use strategies for making Small Talk effectively
- Use expressions for Problem Solving
- Get ready for a variety English speaking environments
Learning using traditional methods, memorizing single words and grammar rules should be avoided.
- We will be practicing English through expressions, collocations, models, patterns, language chunks, phrasal verbs as well as idioms.
Music in English Teaching helps to get into the act of learning English in an enjoyable manner. Students are going to Learning English with the song’s lyrics.
Different strategies of storytelling and final discussion.
1 hours per week in class, and an estimated 1 – 2 hours per week independently.
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How to teach English using DRAMA?
- Develop their personal meaning and intentions
- Develop their personal response to and interpretation of English and drama
- Develop self-confidence and self-expression, through expressing themselves, working with others and having an impact on others
- Use talk flexibly to express themselves and their opinions and feelings, find their own voice, explore personal experience, build self-confidence and communicate with others, through engaging in formal and informal talk, including debating, listening, giving speeches and presentations
- Use the pupils themselves and their own experience as starting points for work on ‘Myself/my autobography’ for example
- Talking and writing about what has happened to me, what means something to me, what I care about, what makes me special, my likes and dislikes, where I live, my hopes and dreams
- Reading autobiographical literature and/or accounts of childhood
- Listening to personal accounts of others in the class
- One pilot school used English and drama to assist pupils to make the transition to secondary school by getting to know one another and explore their responses to anew school eg. through an ‘All about me’ project (undertaken jointly with other humanities subjects to form a humanities project)
SOCIAL SKILLS AND EMPATHY
- Link empathy with the central concept in English and drama of ‘point of view’, eg. through exploring texts written from a variety of viewpoints or different roles in drama
- Develop empathy through vivid/juicy experiences eg. through reading about characters in fiction, diaries, letters or playing them in role-play or hot seating
- Develop social skills, communication and empathy through interacting and collaborating with others through effective speaking and listening; one to one and in groups, through formal and informal talk, speeches and presentations – speaking, paraphrasing, acknowledging and listening to others’ points of view
- Link sympathy with the central concept in English of ‘audience’ – and learn how to write, speak, act to different purposes and audiences – which demands and ability to understand different views of the world
- Develop specific social and communication techniques through group work and/or drama such as active listening, mirroring, using and understanding facial expressions, assertion, conflict resolution, mediation, group decision making and ways to reach a consensus
- Adopt a range of roles in discussion, including acting a s a spokesperson and contribute in different ways to group work, such as promoting, opposing, exploring and questioning
- Develop the ability to empathise with people from different times and cultures through exploring literature written at other times and in other places
SPECIFIC CONTENT IDEAS
- Exploring empathy and social skills of various characters in books and films popularly used eg the Hobbitt (how the races of the Hobbits and Dwarves gradually lose their suspicion), Holes (children in the camp moving from enmity to teamwork that leads to their escape), Tracey Beaker (complex interplay of relationships between the children in the children’ home).
- Exploring how tabloid newspapers marginalise, demonise and reduce certain groups (eg, ‘foreigners’, ‘young hooligans’. Muslim extremists’, ‘scroungers’. ‘asylum seekers’) and the language and imagery they use to do it.
- Developing active listening skills through exercises in drama – playing the part of good and bad listeners and discussing how it feels
- Exploring how we make judgements about people, eg. snap judgement – top-slicing the information, instant body language choices based on how someone looks, our gut reactions (eg why did Harry Potter instantly stick up for Ron when he met him and Draco Malfoy together?)
- Thought tracking, externalising internal monologues in pairs, one the actor and one the voice to convey an internal state through body language
- Explore the concepts of developing understanding, meaning, intention and motivation in English and drama – ask key reasons why people create and enjoy the expressive arts
- Make meaning in their own lives eg. by understanding the central importance of having clear and strong goals, a vision, intentions and sound values
- Understand the idea of cause and effect in the context of English and drama. Eg. explore the links between character, motivation and plot and how outcomes for a story flow from the nature, intentions and personality of the people involved
- Identify, using appropriate terminology, the way writers match language and organisation to their intentions
- Structure a piece of writing or a speech in a well-organised, clearly sequenced, prioritised, logical and chronological way
- Use exploratory, hypothetical and speculative talk as a way of researching ideas and expanding thinking
- Work alone and with others to solve problems, make deductions, share, test and evaluate ideas
- Set personal targets
- Develop drama techniques and strategies for anticipating, visualising and problem solving in different learning contexts
- Develop their powers of critical reflection
SPECIFIC CONTENT IDEAS
- Explore the link between character and motivation. Take examples from fiction/biography and in their own writing/drama of characters, explore the impact of their motivation on the story/plot/outcomes fir the character and for others
- Solve problems, eg explore what went wrong for a character (in literature or in drama/role-play) due to their lack of motivation, persistence, resilience, goal setting etc. How might they have dealt with it better? What might have happened if they had?
- Explore the experience of characters who have difficulties that need to be overcome and problems to solve, in literature, writing and drama
- Compare characters in a story who have different degrees of motivation. Eg. degrees of vision, persistence, resilience, or who are motivated by different things and look at the outcomes that follow
- ‘What makes a hero?’ Explore the central role of motivation in the hero’s story/moral journey. Ie clear vision and purpose, persistence, resilience, courage, conviction – using books and films popular with the group. Eg Harry Potter, The Hobbitt, Holes, Tracey Baker, Artemis Fowl, The Lightning Tree, Whispers in the Dark, A Series of Unfortunate Events, Eragom, Dr Who
- Invite pupils to predict what will happen next in a story – involves considering intentions, causality and their link to outcomes
- Link the idea of creating a structure for a story (ie, with an arresting opening, a developing plot, a complication, a crisis and a satisfying resolution) with the idea of trying to tackle problems in real life, including exploring how far real life follows such neat patterns
- Pupils learn how to structure a piece of writing or a speech in a well organised, prioritised, logical and chronological way which makes cause and effect clear, eg collect, select and assemble ideas in a suitable format, such as a flow chart, list, star chart, or PowerPoint presentation, make clearly organised notes of key points for later use or to support a speech, organise texts in ways appropriate to their content and purpose, put a muddled story in a logical order
- Pupils identify and report the main points emerging from discussion, eg. to agree a course of action including responsibilities and deadlines
- Pupils set personal targets for English and drama, eg. to improve the presentation of their written work, improve spellings, speak up more often in class, take a lead role in drama, increase the descriptive power of their story telling etc
- Developing powers of critical reflection – through evaluating a piece of work and giving a considered, personal response to a presentation, play, script, film or performance through sharing views, or through keeping a reading journal
- Explore the idea of emotional engagement in literature and drama, exploring issues such as identification with character, search for emotional resonance and meaning and vivid/juicy emotional experience as some of the reasons why people create and go to the arts
- Give direct emotional experience in real time, for example through responding to a story, poem or film, or experiencing an event in drama or role-play
- Explore their emotional reactions to incidents, in literature, drama or real-life and compare their reactions with those of other people
- Develop the range, subtlety and depth of their emotional experience and expression
- Develop their language and whole body skills so they have a complex repertoire of vocabulary, facial and body language to express a wide range of emotions and feelings
- Develop their ability to use a range of devices to persuade and emotionally engage their audience, in speech, writing and drama eg. rhetoric (language), reiteration (echoing), exaggeration, repetition, suspense, withholding information, humour, emotive vocabulary
- Use talk and writing flexibly to express their feelings, find their own voice, explore personal experience, build their self-confidence and communicate their feelings to others, through engaging in formal and informal talk, eg. group work, pairs, role-play, debating, speeches and presentations and a variety of types of writing
- Empathising with characters and ideas who experience a range of feelings of emotions, through reading or listening to literature and taking part in drama
- ‘read’ their audience emotionally, whether it is an audience for their writing or their drama
- Explore how writers convey feelings and mood, eg. through language, sound, word choice, imagery, alliteration, rhythm and rhyme
- Become more responsive to what others feel eg. though listening to what they say and observing their body language, responding to the feelings of others in the group or role-play
SPECIFIC CONTENT IDEAS
- Work to extend feeling vocabulary with ‘feelings words’ eg ‘feelings word of the week’. Encourage pupils to explore and include new words in oral and written work and give recognition to pupils who use more complex words to describe what they are feeling
- Discuss how a story, poem, film or television programme makes us feel – explore individual reactions to the piece – what range of emotions does it generate in us? What feeling is the writer/film or programme trying to convey? What devices do they use to achieve this?
- Take a cluster of feelings and develop work on that, eg. write a poem in a particular mood, feeling or atmosphere, perhaps linked to music or art. ‘Prose polaroids’ (word pictures) – individual or group reflection then fill a word square with words around a mood or feeling, body sculpting to create a mood
- Explore what makes us laugh? Humour though the ages, ‘getting it’ or not, social aspects of humour, why is Shakespeare not funny any more? ‘In’ jokes and ‘out’ jokes, ‘cool’ humour (eg study latest television comedies that appeal to young people – why are they appealing? Contrast the shows with those your nan likes).
- Tragedy/comedy – what’s the key difference, how is the difference created, what attracts us to one or both, why do children’s films/stories always end happily, adult’s often not?
- Compare and contrast the ways information is presented in different forms, eg. orally, in text, visually, web page, diagrams, prose and explore the impact of these different forms on the feelings of the audience
- Drama – warm up, movements, body language, freeze framing, statues, tableaux to illustrate a particular mood or feeling
- Museum of feelings/emotions or museum of one specific emotion, eg joy. Small group become the ‘sculptors’, others are the ‘statues’, rest of the class is the audience who have to move around the museum and guess what emotions are being conveyed or comment on how well the statues convey the emotion
- Making or mirroring facial expressions – what mood or feeling am I trying to convey/how does the other person feel?
- Stage fighting – learning to control your body and your aggression (can help with aggressive pupils, gives a sense of control and detachment. Links with martial arts)
- ‘Hello’ games – how many ways can you say a word. What emotions can it convey?
- Mask work – use Greek-type masks that convey a particular emotion – pairs or group theatre work
- Drama – warm-down, breathing exercises, relaxations, visualisations
- Advertisements – the techniques they use to shape and affect moods, feeling and desires
- Web source: https://www.dorsetforyou.gov.uk/media/pdf/2/8/SEAL_and_English.pdf
Opening Plenary by Jane Setter
Intonation is one of the earliest acquired aspects of speech; the crymelodies of infants are influenced by the intonation of their mothers, and very small toddlers are able to use intonation to indicate turn taking patterns in play conversations before they can form words. It plays a vital role in successful communication in English, as it does in other languages. If this is true, why is intonation neglected in English language pronunciation teaching, and how can it be taught effectively?
This presentation takes the audience into the seldom-navigated region of intonation in English language teaching, focusing on the role of three main elements: tonality, tonicity and tone. Drawing on material from a number of different sources, we explore the role of intonation in English, and look at which elements are teachable, which are learnable, what resources are available to the teacher and the learner, and how intonation might be approached in the English language classroom and as a self-access learning activity. Expect a multimedia, audience participation experience.
from English Grammar Today
Pronunciation means how we say words. Most people speak the dialect of standard English with an accent that belongs to the part of the country they come from or live in. Learners of British English commonly hear RP (received pronunciation), which is an accent often used on the BBC and other news media and in some course materials for language learners, but it is also common to hear a variety of regional accents of English from across the world.
How we use spoken stress and rhythm is also an important part of pronunciation. For example, it is important to know which syllables in a word are stressed and how different patterns of stressed and unstressed syllables are pronounced. There are also common patterns of intonation in English which enable us to give special emphasis to particular words, phrases and sentences.
See also: Dialect, British and American English, SpellingIntonation
Here are some snapshots from the presentstion.
Empowering teachers through continuous professional development:frameworks, practices and promises
Gabriel Díaz Maggioli
National Teacher Education College, Uruguay
April 4, 2017
Main Points of Presentation
REALITY CHECK 2002
“…while particular ‘lighthouse’ schools and school systems are the exception, my sense is that professional development as it is experienced by most teachers and principals is pretty much like it has always been—unfocused, insufficient, and irrelevant to the day-to-day problems faced by front line educators. Put another way, a great deal more is known today about good staff development than is regularly practiced in schools.”
Dennis Sparks, 2002