Lga 3102 Module

TSL3102 SONGS AND POETRY
TOPIC 1
OVERVIEW
1.0 SYNOPSIS Topic 1 will look at literature in the Malaysian primary ESL classroom, the rationale on the use of songs and poetry with young learners in the primary classroom. 1.1 LEARNING OUTCOMES By the end of Topic 1, you will be able to distinguish the difference between poetry and songs identify the roles and purposes of using songs and poetry in the primary ESL classroom 1.2 FRAMEWORK OF TOPICS "#er#iew
Literature in the Malaysian $rimary ESL classroom
$urposes of using songs and poetry in the Malaysian primary school
%ntra and inter personal de#elopment
Linguistic de#elopment
&esthetic de#elopment
'ultural 'onsiderations
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'"(TE(T SESSION ONE (6 HOURS) 1.2.1 OVERVIEW Lets try and do some e)ercises. 'an you try and answer these *uestions.
1. 2hat is literature+ 3. 2hy do we read it+
So how about it+ 'an you answer the *uestions. Take a look at the responses gi#en below. %s it the same as the answers gi#en by you. 1. Literature is a term that is used to describe the collection of written or spoken materials through different periods and cultures. 3. 2e read it because we want to know about knowledge of the world, of other cultures, for entertainment purposes and to get an insight of the human beings and the society because works of literature con#ey emotions and e)periences of human beings. 4"ak, 35567
1.2.1.1
Literature in t e Ma!a"#ian $ri%ar" ESL &!a##r''%. Lets read
$rimary school children were already e)posed to literary te)ts e#en before the official launch of the ,'hildren-s 'ontemporary Literature. component for /ears 0 till 1. They were already familiar with nursery rhymes, stories and so on. The then
'urriculum 8e#elopment 'entre 8irector &li &b 9hani said that the $rimary Literature $ro:ect was introduced in the school curriculum to strengthen pupilsproficiency in English 4The Star, May 25, 2008). The ob:ecti#es for introducing the ,'hildren-s 'ontemporary Literature- are as follows to instil and inculcate the reading habit among pupils. to enrich pupils- #ocabulary and language content. to enhance pupils- thinking skills. to promote cultural understanding in the Malaysian conte)t to impro#e English language proficiency of pupils. To pro#ide li#ely, en:oyable and high!interest readings. 4$usat $erkembangan ;urikulum, 35517 &part from stories, the students were also introduced to songs and poetry. $ut your thinking cap on WHY??? Song and $oetry
WHEN?? So how did you do+ 8id you manage to answer all+ Let-s check. <ead the reasons listed below. 2hy do we use songs and poetry with young learners in the primary ESL classroom+
Music is highly memorable and moti#ating. 3
Songs,rhymes and chants are ideal tools to be used in the language classroom. To introduce, reinforce and recycle structures and #ocabulary. To de#elop all skills in an integrated way. To help impro#e all aspects of pronunciation stress,rhythm and intonation of the target language. To present new language in a new rich and imaginati#e conte)t. To encourage physical in#ol#ement. To contribute to the learning of the cultural component of the language. To contribute to the de#elopment of a positi#e attitude towards the language learning. To help to de#elop a positi#e relation between teachers and students They promote the practice of pronunciation, intonation and stress. They are a nice way to introduce, practice, and re#iew #ocabulary. They are useful to practice writing. They enrich the knowledge of cultural features. They are a way of de#eloping of language skills 4http ==www.slideshare.net=ddeubel=using!songs!in!the!efl!classroom )
2hen do we use songs and poetry with young learners in the primary ESL classroom+ >or eg, they can be used as a warm up as a transition to introduce new language structures to practice or re#ise language to integrate with storytelling
1.2.1.2
S'n(# an) $'etr" in t e Ma!a"#ian $ri%ar" #& ''! &urri&u!u%
Let-s read
Songs and poetry are part of our daily life. &lmost e#eryone en:oys songs and poetry. Language teachers use songs and poetry to open or close their lessons, to illustrate themes and topics. They also use songs and poetry to add #ariety or a change of pace, present new #ocabulary or recycle known language in their classrooms. But how do songs or poetry actually benefit or gi#e purpose to our students+
Let-s think about this again. 'an you list down the purposes of using songs and poetry in the Malaysian primary school+
1.2.2 Pur$'#e# '* u#in( #'n(# an) $'etr" in t e Ma!a"#ian $ri%ar" #& ''!
'heck your answers. &re they the same as the answers that you-#e gi#en+ Pur$'#e#+ for personal de#elopment ! intra and inter personal de#elopment for linguistic de#elopment 5
for aesthetic de#elopment 'ultural considerations
Before we go any further. Lets try and answer some more *uestions. 'an you try and answer these *uestions. @ow do songs and poetry help to de#elop the students intra and inter personal + to de#elop potential+ students linguistic=language learning
to de#elop students aesthetic #alues+ to de#elop studentscultural considerations+
Take a look at the e)planation below. %t will help to clarify some things for you. %f you need further clarification, discuss with your lecturer. 1.2.2.1 Intra an) inter $er#'na! )e,e!'$%ent %ntrapersonal de#elopment
%ntrapersonal de#elopment is the growth within yourself that is ha#ing an understanding of yourself, of knowing who you are and what you can do. %n other words, all these takes place within ourself. Students- intra personal de#elopment can be enhanced by using songs and poetry that would inspire the students to de#elop and belie#e in their abilities. Some e)amples of inspirational poetry and songs are listed below. P'etr" 1. %t couldn-t Be 8one ? Edgar & 9uest. 3. %f ! <udyard ;ipling 6 S'n(# 1. @ero !Mariah 'arey 3. 2alk a Mile in my shoes ? Aoe South
B. The 'limb ? Miley 'yrus B. $retty 9ood ! 'harles "sgood 0. "n Being a 'hampion ! Matthew Stepanek 0. This is Me ! 8emi Lo#ato
9o to this website for more wonderful inspirational poetry. http ==www.teensselfhelp.com=9reat$oems.html
>ind B songs and poetry that could help to enhance students intrapersonal de#elopment
%nterpersonal de#elopment %nterpersonal de#elopment is whereby students must learn to work with others by building a positi#e social relationship and learning how to work as a team. %t is also the de#elopment of students ability to understand other people. %nterpersonal de#elopment can be inculcate in the students with the use of songs and poetry. >or e)ample, the song entitled C The family song. or ,The friendship song. or the poetry, entitled C&tions - by Shel Silverstein. @ere the teacher can get the students to act out or role play as they sing the song. 2hen the students are working in a group , they learn how to communicate, respect as well as to help each other. They also learn how to socialise and negotiate with their friends.
>ind 3 songs and poetry that could help to enhance students interpersonal skills de#elopment. Suggest some acti#ities that could be conducted to de#elop students interpersonal skills. 8iscuss the acti#ities with your lecturers.
1.2.2.2
Lan(ua(e Learnin( P'tentia!#
Songs and poetry helps children impro#e their listening and sound discrimination skills will aid not only in learning to read but also becoming better students and better people in the future as an acti#ity to enrich your studentsD English #ocabulary, to impro#e their grammar and accents. This is because songs and poetry ha#e lots of #ocabulary therefore the students can enhance their #ocabulary by learning new words in a fun way. They also learn how to pronounce words with the appropriate stress and intonation. as a classroom acti#ity use for learning structures. This is because the structures are sometimes repetiti#e. This is good as the students will be practising the particular structure again and again. This is useful as they pro#ide reinforcement of the linguistic functions. promote listening and speaking e)ercises practices through different tasks. pro#ides a fun and interesting way to learn the language structure and grammar. pro#ides a nice way to introduce, practice, and re#iew #ocabulary. are useful to practice writing and reading skills.
1. 'an you think of 3 other reasons on how songs and poetry can help to de#elop students language learning potentials. 3. Think also of an acti#ity that you can do with your students to promote language learning. 8 8iscuss with your lecturer.
1.2.2.-
.e,e!'$in( #tu)ent# ae#t eti& ,a!ue# Some e)ample of acti#ities that can help students towards de#eloping their aesthetic skills pottery, crafts, embroidery, painting, origami, soft!toys E puppet making so on
&esthetics 4also spelled esthetics7 ! means the study of the emotions and the mind in relation to their sense of beauty in literature and other fine arts, but separately from moral, social, political, practical, or economic considerations. This area of study is concerned with the appreciation and criticism of what is considered beautiful or ugly. %t is sometimes referred to as ,art for art-s sake..
1. 'an you think of 3 acti#ities on how songs and poetry can help to de#elop studentsaesthetic #alues. 8iscuss with your lecturer.
1.2.2./
.e,e!'$in( #tu)ent#0 &u!tura! &'n#i)erati'n# 1.2hy do you think there is a need to de#elop studentscultural considerations+ 3. @ow do songs and poetry help to de#elop studentscultural considerations+ 8iscuss with your lecturer. 9
TOPIC 2
SONGS AN. POETRY FOR YOUNG LEARNERS
2.0 SYNOPSIS Topic 3 will look at the different genres=types of songs and poetry and their #alues in the primary ESL classroom. 2.1 LEARNING OUTCOMES By the end of Topic 3, you will be able to identify the different genres=types of songs and poetry and their characteristics. 2.2 FRAMEWORK OF TOPICS Songs and $oetry for /oung Learners
9enres=Types of $oetry
9enres=Types of Songs
@ailku
Limericks
(ursery <hyme 8ramatic
>olk songs
Lullabies
Epic
(arrati#e
Ballads $op <EB
Blues AaFF
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Something to think about. %n e#ery society, songs and poems play an important role. They show many aspects and important elements of culture in each society. >or eg the relationship to the past and the ancestors as well as the faith, the fun, the an)ieties of its people, the hopes and the #iew of the future Through songs and poetry children-s curiosity about e#erything new will be satisfied. They are able to learn or get to know parts of a foreign culture. ,Being familiar with songs and rhymes in a foreign language, pupils feel closer to the foreign culture and its language. So they see them as enrichment for their own life. 4http ==www.grin.com=en=e! book=1511G5=songs!and!rhymes!in!teaching!english!at!primary! schools7 ,%f the pupils hear the same melodies or similar rhymes they are astonished at the parallels between their own culture and the foreign one ? so, the foreign cultures arenHt alarming and frightening but interesting and worth being disco#ered. 4http ==www.grin.com=en=e!book=1511G5=songs!and!rhymes!in! teaching!english!at!primary!schools
9o to this website for e)tra reading htt ())www.free ate!tso!,'!e.+om)art'+,e)1$,t'+$,t$ra,/ed$+at'o! http ==www.grin.com=en=e!book=1511G5=songs!and!rhymes!in!teaching! english!at!primary!schools
Look at the above framework. Name 3 more ty es of oetry a!d so!"s. #ave yo$ do!e that % nnnnnEducation=1I55B553I.htmlEducation=1I55B553I.html &o to th's webs'te ( 1. htt ())www. oemof*$otes.+om)art'+,es) oetry-forms. h 2. htt ())www. oet'+term'!o,o"y.!et) 3. htt ())www.b$..,e.+om)art'+,es)ty es/of/so!"s.htm, 11 4. http ==musicgenreslist.com= 0'd yo$ ma!a"e to !ame them +orre+t,y%
Lets th'!k for a wh',e. 2hy do yo$ th'!k tea+hers ,'ke to $se so!"s a!d oetry '! the'r tea+h'!"% 3a! yo$ "'ve some reaso!s for $s'!" so!"s a!d oetry '! yo$r tea+h'!"% #ave a short d's+$ss'o! w'th yo$r +o,,ea"$es '! s+hoo,. 4re the reaso!s they "'ve the same as yo$rs%
2.2.1 1 Genre# '* P'etr" Genera! Intr')u&ti'n t' P'etr" $oetry. 2hat e)actly is poetry+ The term poetry comes from an ancient 9reek word, which means % create. %n other words poetry is an art form in which language is used for Cits aesthetic *ualities- as well as for its imaginary and semantic content 4http ==www.poetry.org=whatis.htm7. ,$oetry is a creati#e use of words which, like all art, is intended to stir an emotion in the audience. $oetry generally has some structure that separates it from prose. 4http ==www.teachers.sheboygan.k13.wi.us=elee=documents=P'etr"$ack etJ551.pdfK
Re&a$
#a'k$
@aiku is a form of Aapanese poetry, usually about nature. The first line has fi#e syllabus, the second line has se#en syllabus, and the third line has fi#e. Look at the e)ample below 12 Foa Ocean waves roll in, (5) a!ainst the san"y shore, (#) Then sli"e bac$ to sea (5)
L'mer'+ks
Limerick is a fi#e line poem with a rhyme scheme of a!a!b!b!a. Limerick always has a humorous tone. Look at the e)ample below A C!u%#" Y'un( Fe!!'2 Na%e) Ti% There once was a fellow named Tim 4a7 whose dad ne#er taught him to swim. 4a7 @e fell off a dock 4b7
(ursery <hyme
& nursery rhyme is a short rhyming story, often set to music and usually designed for young children. Typically, a nursery rhyme has simple #ocabulary and a catchy rhyme. 'hildren can *uickly learn to sing along with a nursery rhyme, and nursery rhymes are often used to help young children build their #ocabulary. Look at the e)ample below
Baa, baa, black sheep, @a#e you any wool+ /es sir, yes sir, Three bags full. "ne for my master, "ne for my dame, &nd one for the little boy 2ho li#es down the lane. Baa, baa, black sheep, @a#e you any wool+ /es sir, yes sir, Three bags full. "ne for my master, "ne for my dame, &nd one for the little boy 2ho li#es down the lane.
and sunk like a rock. (b) And that was the end of him. (a)
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Epic
Epic $oems are long, serious poems that tells the story of a heroic figure or the actions of gods and goddess. Some of the most famous epic poems are the %liad and the "dyssey by @omer and the epic poem of The Song of @iawatha by @enry 2adsworth Longfellow 41I5L ! 1II37. 9o to this website to ha#e a look at the epic poem. lliad http ==www.poemhunter.com=homer= "dyssey http ==www.onlineliterature.com=homer=odyssey=1= The song of @iawatha htt ())www.hw,o!"fe,,ow.or") oems- oem. h % 'd562
(arrati#e
(arrati#e $oems are poems that tell stories. There is a beginning, which introduces the background to the story, a middle, which tells the action of the e#ent, and an end, which concludes and summariFes the story. %t is a poem that tells a series of e#ents using poetic de#ices such as rhythm, rhyme, compact language, and attention to sound. %n other words, a narrati#e poem tells a story, but it does it with poetic flairM Many of the same elements that are found in a short story are also found in a narrati#e poem. @ere are some elements of narrati#e poetry that are important & narrati#e poem in which one or more characters speak. The dramatic poem consists of the thoughts or o character spoken statements 4or both7 of one or more characters other than the poet himself in a particular life situation. %t o setting is dramatic rather than narrati#e since the character is not Nwritten aboutN by the poetO rather, the poem o conflict consists of the characterDs own thoughts or spoken statements. @e may be thinking 4or talking7 to himselfO a o plot poem recording his thoughts or speech to himself is called a #'!i!'3u". "r a character may be speaking to 9o to this website to ha#e a look at a narrati#e poem one or more other characters in a gi#en situationO a www.pfluger#illeisd.net=curriculum=...=(arrati#eJ P'etr"J poem recording his speech is called a )ra%ati& Lesson.pdf %'n'!'(ue.4http ==www.studyguide.org=litJterms.htm7 9o to this website to ha#e a look at a dramatic poem ? Tamburlaine The 9reat by 'hristopher Marlowe for parts 1,3 and B. 14 http ==www.fullbooks.com=Tamburlaine!the!9reat!$art! 1.html
8ramatic
(ow that you know the different genres=types of poetry. 2hy not try and create one or two poems on your own. Try creating one limerick and one haiku. <emember the number of syllabus and the rhyme scheme. Show your work to your lecturer.
2.2.2 1 Genre# '* S'n(# Genera! Intr')u&ti'n t' S'n( 2hat is a song+ Most people will say it-s a combination of melody and lyric. The more enlightened will add harmony and rhythm, or a beat. &dding to this, it has structure, usually repeats of #erses and choruses. &ccording to the Meriam 2ebster dictionary ?a song is a short musical composition of words and music F'!4 #'n( >olk music reflects the li#es of common people. Through this music people gi#e #oice to their feelings. They cry about their sorrows and shout about their 15
happiness. They e)press their beliefs and remember their ancestors. They tell about the things they ha#e seen and heard and felt in their li#es. Through folk music people preser#e their history. (ot the history of te)tbooks, but the history of common people. http ==eslfolk.com=articles!about!folk!music= Some e)ample of Malaysian folk songs Aambatan Tamparuli, <asa Sayang Eh "ther e)ample of folk songs 'lap your hands, The ants go marching, 8own in the #alley. Blues
%t was created by &frican &mericans who used to be sla#es in the early part of the 1655Ds. Black people in &merica used to li#e and work on large farms called plantations. Their working conditions were not #ery good, and while they worked, they would sometimes sing to each other in the fields. Later, these songs became the first Blues music. This kind of music is #ery emotional. Sla#es did not ha#e happy li#es, and e#en after sla#ery became illegal, life for black people in the south was still e)tremely difficult. Therefore, the words to these songs were often #ery sad. %t became possible to say, ,%D#e got the blues. or ,%Dm blue. when you were sad because of the lyrics of these songs. http ==eslfolk.com=articles! about!folk!music= Some e)amples of famous blues songs=music Memphis Blues by 2.'. @andy, 'raFy Blues by Mamie Smith, The Thrill is 9one by B.B.;ing and $ride and Aoy by Ste#ie <ay Paughan.
Ballad
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%n the later 16th century it took on the meaning of a slow form of popular lo#e song and the term is now often used as synonymous with any lo#e song, particularly the pop or rock %ower balla". http ==www.musicstack.com=genre=:aFF Some e)ample of ballads @ow can % li#e without you by Micheal Bolton, % Swear by &ll!0!"ne, Speak Sofly lo#e by &ndy 2illiams, >ifteen by Taylor Swift.
Lullaby & lullaby is a soothing song, usually sung to young children before they go to sleep, with the intention of speeding that process. &s a result they are often simple and repetiti#e. Lullabies can be found in e#ery culture and since the ancient period. Lullabies share common musical characteristics i.e. they are gentle, often use rocking rhythms, are melodically simple and often repeat melodic patterns. http ==www.o)fam.org.uk=education=resources=globalJmusicJlessonJplans=GJL=fil es=lesson0JlullabiesJaroundJtheJworld.pdf Some e)ample of lullabies @ush Little Baby, 9o to Sleep you little baby and Twinkle twinkle Little Star,
AaFF
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AaFF is defined as a style of music, nati#e to &merica, characteriFed by a strong but fle)ible rhythmic understructure with solo and ensemble impro#isations on basic tunes and chord patterns and, more recently, a highly sophisticated harmonic idiom. The Free &ictionary Some e)amples of AaFF Somewhere o#er the rainbow, % got rhythm, Soul Bossa (o#a, and Strange >ruit by Billie @oliday
<EB
<hythm and blues, often abbre#iated to <EB and <nB, is a genre of popular &frican!&merican music that originated in the 1605s. The term was originally used by record companies to describe recordings marketed predominantly to urban &frican &mericans, at a time when Nurbane, rocking, :aFF based music with a hea#y, insistent beatN was becoming more popular. The term N<EBN became used to refer to music styles that de#eloped from and incorporated electric blues, as well as gospel and soul music
Some e)ample of <EB songs 8iamond by <ihanna, 9irl on >ire by &licia ;eys, Thinkin Bout /ou by >rank "cean and /oung 9irls by Bruno Mars.
676
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There is no particular style of music that can be clearly identified as pop. This is because pop music is always changing. %t can be identified as the most popular mainstream music of the time. The most consistent component of pop music has been the concept of the pop song. Most pop songs range in length from appro)imately 3 minutes to G minutes, and they fre*uently include a #erse! chorus!#erse!bridge!chorus structure or some close #ariant. Longer compositions are rare in pop music. $op music has been and continues to be a melting pot of styles. Some e)ample of pop songs "ne More (ight by Maroon G, 2e are ne#er E#er 9etting Back Together by Taylor Swift, 8on-t 2ake Me up by 'hris Brown.
References
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1. 'o), '. 4355I7. Teachin! 'an!(a!e )rts* ) St("ent-centere" +lassroo , 41thed7. QS& &llyn E Bacon. 2. >ogiel, M. 435557. &esthetics <etrie#ed 1B Sep, 3513 from htt ())www.e!otes.+om),'terary/terms) 3. %ntroduction to poetry. <etrie#ed 1 (o#. 3513 from.. htt ())www.tea+hers.sheboy"a!.k12.w'.$s)e,ee)do+$me!ts)6oetry6a+ket-001. df 0. ;ursus $elaksanaan$rogram Bacaan Sastera ;ontemporari ;anak! kanak Bahasa %nggeris Tahun 1, 435517 $usat $erkembangan ;urikulum, ;ementerian $endidikan Malaysia G. (ull, ;,'. 435537. ,ow to write a %oe . Teacher 'reated Materials, %nc QS& 1. "ak, M. 435567. The importance of literature. <etrie#ed 11 Sept 3513 from htt ())www.b$..,e.+om)art'+,es)'m orta!+e / of /,'terat$re.htm, 7. <etrie#ed 11 Sept 3513 from htt ())www.s,'deshare.!et)dde$be,)$s'!"/so!"s/ '!/ the/ef,/+,assroom 8. <etrie#ed 13 September 3513 from htt ())fa+$,ty.b$ffa,ostate.ed$)sm'thrd)849:203omm$!'+at'o!)8!'t4. df 9. ;etr'eved 12 <e tember 2012 from htt ())www. oetry.or")what's.htm 10. ;etr'eved 12 <e tember 2012 from htt ())es,fo,k.+om)art'+,es/abo$t/fo,k/m$s'+) 11. Simrit ;aur, E)posed to Literature. 4355I, May 3G7. The Star. 12. Songs and <hymes in Teaching English at $rimary Schools. <etrie#ed 1 (o# 3513. htt ())www."r'!.+om)e!)e/book)106150)so!"s/a!d/rhymes/'!/ tea+h'!"/e!",'sh/at/ r'mary/s+hoo,s 13. 2hat is poetry. <etrie#ed 1 (o#. 3513 from htt ())www. oetry.or")what's.htm
TOPIC -
PE.AGOGICAL PRINCIPLES OF TEAC5ING SONGS AN. POETRY TO YOUNG LEARNERS
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-.0 SYNOPSIS This topic aims to look at the pedagogical principles underlying the teaching of songs and poetry to young learners. %t also aims to create an understanding of the pedagogial principles linked to the ;SS< syllabus. >inally the three broad themes 42orld of self, family and friendsO 2orld of ;nowledge and 2orld of Stories7 embeded in the teaching of songs and poetry are discussed. 3.1 LEARNING OUTCOMES 1. Select and e#aluate songs and poetry for use in the primary ESL classroom based on pedagogical principles 4B.B, B.1, 1.B, 1.17 3. To e)amine the link between poetry and songs with Malaysian primary school syllabus 4;SS<=;BS<7 -.2 FRAMEWORK OF TOPIC
CONTENT SESSION TWO 67 'ur#8 -.2.1 Intr')u&ti'n 21
>rom pre#ious chapters you would ha#e learnt the #arious types of songs and poetry a#ailable for young learners in the primary classrooms. @owe#er, this knowledge alone is not enough for you to decide which poems or songs are suitable for your students. "ne important aspect that needs consideration is the -pedagogical principles- underpinning the the teaching of songs and poetry for young learners. This chapter will guide you to learn more about these pedagogical principlesO namely underlying pedagogical principles of the primary school curriculum and the principles related to teaching songs and poetry for young learners. These two aspects are deemed crucial in the understanding of the o#erall curriculum and its- link to the teaching of songs and poetry in the primary schools. /ou will be able to see the link as you read and answer the *uestions found in this chapter. This chapter also highlights the three broad themes identified in the curriculum, namelyO 2orld of self, family and friendsO 2orld of stories and 2orld of knowledge. By understanding each of these element you will be able to make connections on how to teach songs and poetry and the ways of selecting and adapting resouces to suit the needs of young learners.
A&ti,it" 1 %dentify the meaning of these words from the dictionary. i. ii. pedagogy JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ principles JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ
/ou should be aware that -pedagogy- refers to the art of teaching. This includes instructions and acti#ities related to knowledge and skills. "n the other hand, principles are ideas, truths or beliefs used as a base for reasoning or action. 22
$edagogical principles are -good practices- of professionals in educational conte)ts. They are referred to as Cma)ims for action, which, in a defined scope, claim permanent #alidity for e#ery concrete situation, be it in pedagogical practice or in educational science as one type of societal practice 4@andbook on Educational Science, 3550, p.1337. power. Edelenbos et al. 435517 claim pedagogical principles synthesiFe a rich set of practical, instructional e)periences and can be used to deal with new practical problems. They also highlight the fact that it should be aligned with the personality of a learner and cognition. >rom there, one deri#es and e)pands didactical concepts, gi#ing teachers a manageable number of points of orientation. The ;SS< is a new curriculum implemented in the /ear 3511 for /ear 1 students in the primary schools. There are se#eral pedagogical principles highlighted in the teaching of English. Look through the English primary school syllabus and identify each one of them. -.2.2 Pe)a('(i&a! Prin&i$!e# '* t e Curri&u!u% There are se#eral pedagogical principles that go#ern the learning process in the teaching of Language &rts in the primary schools. They areO back to basics learning as fun, meaningful and purposeful teaching is learner!centered integration of salient new technologies character!building assessment for learning 23 'astillow 435507 belie#es that pedagogical principles has these characteristicsO pure, pristine, and packed with pedagogical
(ow let us look at each principle closely.
-.2.2.1 9a&4 t' 9a#i&# This principle emphasiFes the basic re*uirements needed for young learners at the beginning of the schooling years. %t refers to a strong foundation of competencies in basic literacy skills. &mong the areas highlighted are phonics, penmanship and basic listening and speaking skills.
T in4in( 3ue#ti'n
2hy listening and speaking skills are highly emphasiFed under the first pedagogical principle+ A&ti,it" 2 a. 2hy do you think penmanship is one of the important factors emphasiFed for young learners+ &nswer JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ
b. 2hat do you understand with the term -phonics-+ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ 24
JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ
-.2.2.2 Learnin( a# *un: %eanin(*u! an) $ur$'#e*u!
The acti#ities catered under ;SS< emphasiFes full commitment from the students in engaging themsel#es in fun learning acti#ities. Teachers ha#e to find suitable acti#ities that are purposeful and meaningful for students in order for them to e)plore #arious possibilities in knowledge and skill impro#ement. >or e)ample, teachers can introduce songs, poetry, music and art in teaching the language which will enable students to ha#e fun in carrying out these acti#ities.
A&ti,it" 'an you identify two acti#ities that can be fun and meaningful in a language classroom+ &nswer JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ 'henfeld 4166G7 claims young children ne#er get their earliest words are body words. tired in showing off their
bodies. They lo#e repetition, familiar chants, games and challenges. Some of &ccording to the author, their first accomplishments are skills of body coordination where a teacher can combine two or three mo#ements, such as clap and turn, :ump and clapO and :ump, clap and turn. Through body mo#ement children e)press their understanding of ideas and language. 2hen children are gi#en opportunities to en:oy e)periences in#ol#ing their bodies and their senses they feel good about themsel#es and others. &long with healthy body they de#elop healthy self concepts. "ne way of making songs and poetry fun is by coming up with interesting acti#ities such as
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action songs where students will be able to do body mo#ement while singing, chanting or reciting. T in4in( 3ue#it'n 2hat do you understand with the term purposeful and meaningful acti#ities+ -.2.2.- Tea& in( i# !earner;&entere) The acti#ities planned should allow learners to e)plore and e)periment ideas. This will allow them to adopt critical thinking skills in seeking for solution. Therefore, teachers must identify students- needs before designing suitable acti#ities for them. Learner!centered teaching allows teachers to optimiFe the opportunities for the learners to learn. This is achie#ed by allowing learners to e)periment and in#estigate by themsel#es. This will enable acti#e engagement in the learning process. >urthermore, $iaget 416L57 claims children are acti#e learners and thinkers. Therefore they can construct knowledge from acti#ely interacting with the physical en#ironment in de#elopmental stages. They learn through their own indi#idual actions and e)ploration. -.2.2./ Inte(rati'n '* #a!ient ne2 te& n'!'(ie# %n the new millenium, %'T has dominated the education industry. Parious
methods and approaches of using %'T are applied in assisting teachers to impart knowledge and skills to young learners. &llowing pupils to learn through %'T will enhance language learning in the classroom besides instillling creati#ity and inno#ation. Technology also allows teachers to be creati#e in customiFing their own materials besides making learning more meaningful for the students. E)amples of 2eb technologies are blogs, 2ikis, /ouTube and online big books among others.
-.2.2.< C ara&ter =ui!)in( in*u#e) 26
Teachers should be able to infuse character building among young learners through the use of literary te)ts. Songs and poetry can help students de#elop their personality traits besides being articulate, confident and resourceful through performances in the classroom. Teachers should be able to highlight the #alues embedded in particular songs and poetry because this will help students understand about themsel#es and their place in the world. >urthermore, it will also de#elop ans shape their attitudes about themsel#es and of others.
-.2.2.7 A##e##%ent *'r !earnin( Two forms of assessment are carried out in the primary classroomO formati#e and summati#e. >ormati#e is an ongoing assessment carried out by the teacher throughout the term to assess students- performance. "n the other hand, the summati#e assessment is carried out at the end of the term or of a particular unit. &ssessment is crucial to enable teachers to know what their students ha#e gained or learnt. Besides, it also allow teachers to plan suitable acti#ities and materials based on the students e)isting knowledge. So far, you ha#e read the fi#e pedagogical principles that underline the ;SS< sylllabus in the primary school. (ow let us look at the principles that are crucial in teaching songs and poetry for young learners.
-.-. Pe)a('(i&a! Prin&i$!e# in Tea& in( S'n(# an) P'etr" *'r Y'un( Learner# Teaching Songs and poetry for young learners in#ol#es se#eral pedagogical principles. A&ti,it" / 'an you name a few pedagogical principles that are crucial in teaching Songs and $oetry for /oung learners+
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JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ
<ead and understand the scenario below. $uan Rahedah was upset with the outcome of her lesson today. She chosed the right poem for her /ear Three class. She e#en designed her own teaching materials so that her students could ha#e fun with those colourful materials. E#en bringing in the real football into the classroom and showing a #ideo of the football match did not ha#e any effect on the students. They were rather passi#e and played ignorant to what she was saying throughout the lesson. -$erhaps these girls need to be reprimanded for being naughty- was what $uan Rahedah wrote in her reflection.
A&ti,it" < Based on the scenario abo#e, identify two reasons for the /ear Three students- beha#iour towards $uan Rahedah-s lesson. JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ There are a few things that you need to consider before planning a lesson using songs and poetry in the classroom. $uan Rahedah-s students consist of 15 year! old girls. She needs to consider the students- interest before deciding on the 28
topic of the lesson. >or e)ample, football may not be the students- fa#ourite sports, hence they were not interested in the lesson. Second, making students watch part of a football match is definately not suitable to be adopted in the classroom as well. Therefore, the selection of content needs to be considered by $uan Rahedah.
A&ti,it" 7 (ow read the following reflection of an English teacher from a rural school.
% tried introducing songs in the classroom. @owe#er, the students are not keen in learning anything. They could hardly use the language and are unable to memoriFe the lyrics of the song. 8espite being in /ear 0, % think this is not a suitable song for them.
The teacher definately had a hard time with her students since she used a rather difficult song for them. &lthough the song may be appropriate in terms of #alues instilled in the lyrics, the teacher should ha#e taken into consideration her students proficiency le#el. Since these students are of low proficiency, they The would ha#e a difficult time trying to understand the lyrics of the song. repetiti#e in nature. This will enable students to remember words easily. By simply playing a song for students to listen to may not be ade*uate. The teacher needs to find suitable resources for her students to listen as well as to #iew. "ne e)ample is the use of #ideo which is a#ailable online. A&ti,it" > <ead the following dialogue between a teacher and the @eadmaster 29
teacher could ha#e selected songs with simple sentence structure which are
@eadmaster $uan Lay See @eadmaster $uan Lay See
% understand that your students make noise e#erytime you enter the classroom. &ctually, % ha#e a difficult time teaching this particular class. The students are rather passi#e. @a#e you tried #arious strategies in teaching these students+ /es, % ha#e tried almost e#erything. >or e)ample, yesterday % taught them a #ery interesting poem on -9opher-. % know they ha#e ne#er heard of the word before. But it is our :ob to teach them new things, right+ 2hat was your students- reaction+
@eadmaster $uan Lay See
@eadmaster $uan Lay See
They were not interested as usual. % e#en brought a small rat to show them an e)ample. @alf the class screamed out loud and one e#en wanted to kill the poor rat. 8on-t you think this poem is rather too difficult for your /ear 3 students+
@eadmaster
% thought they would en:oy reading it. %t-s informational you know. They would ha#e learnt new #ocabulary such as rodent, predators, tunnel and so on. Moreo#er, % ha#e been teaching poetry for the past three weeks. % think we need to look at this issue *uite seriously. >irst, you need to...
1, %dentify the reasons why $uan Lay See failed in teaching the poem to her students+ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ
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JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ 3. &s the @eadmaster, what ad#ice would you pro#ide for $uan Lay See to impro#e her teaching+ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ $uan Lay See needs to consider a few factors before selecting suitable te)ts for her students. >irst, she needs to create opportunities for her students to e)tend and de#elop their skills according to their personal interests and abilities. Since rodent is an unfamiliar name for the /ear Two students, the teacher could ha#e introduced a poem of a familiar animal. The selected songs and poems need to be moti#ating, able to de#elop imagination, stimulate curiosity, draw on personal e)perience, encourage participation and create a desire to continue learning. By introducing familiar animals, students will ha#e the desire to mo#e further to identify unfamiliar animals. Second, introducing similar types of poem to the students may lead to boredom. $uan Lay See needs to consider including different genres, topics and themes that will engage her students in learning. Third, the selection of topic needs to cater to the students- age. %t would be *uite difficult for a I year old student to understand difficult words such as Crodent-.
A&ti,it" ? <ead the poem below. Ta4e a Sn'2=a!! 31
Take a snowball, put it on the ground, push it, roll it, make it big and round. Look, your snowman is big and tall but has no eyes, no nose at all. Two stones will do and a carrot, too. (ow, Mister Snowman, how are you+
Source http ==www.grin.com=en=e!book=1511G5=songs!and!rhymes!in! teaching!english!at!primary!schools
&s a teacher, would you select this poem to be taught in the English classroom+ 9i#e your reasons. JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ
/oung children need to learn in a language!immersed en#ironments where they will be able to learn and appreciate other people-s #alues and culture. Songs and poetry will enable this to happen since it is a common treads that tie people together. &lthough, the topic may be something new for the learners, for e)ample -snowman- as depicted in the poem abo#e, children will be able to know parts of a foreign culture besides satisfying their natural curiosity about something new. The poem abo#e is suitable for young learners since it allows for acti#e disco#ery and construction of meaning, and leading to the use of language as a #ehicle to do things. Songs and poems are important elements of each culture. By learning this authentic material pupils get to know parts of a foreign culture. %t satisfies children-s natural curiosity about e#erything new. Being familiar with songs and rhymes in a foreign language will allow pupils to feel closer to the foreign culture and its language. %f the pupils hear the same melodies or similar rhymes they 32
are astonished at the parallels between their own culture and the foreign one. So the foreign cultures aren-t alarming and frightening but interesting and worth being disco#ered. %t-s an important contribution to the de#elopment of tolerance and open!mindedness
<ead the con#ersation below between an English teacher and her student. Teacher Student Teacher Student Teacher Student Teacher Student Teacher Student Teacher Student 'an someone tell me about the poem+ 2hy was the boy sad+ The boy was sad because his sister did not let him into her room. 8o you ha#e a sister+ /es, % ha#e two sisters. 8o you like your sisters+ /es, % lo#e them #ery much. 2hy+ My eldest sister takes good care of me. She always brings me sweets when she comes back from school. My second sister will share her toys with me. &re you happy being with your sisters+ /es, % am happy. (ot like the boy who is sad. 2hat do you think the boy-s brother and sister should do+ They must share their toys with their brother.
8espite the abundance of poems and songs a#ailable in print and online, you must be #ery careful in selecting the right te)t for your students. The most important element that you need to look into is the #alue that is instilled in the poem or song. >or e)ample, the teacher in the e)cerpt abo#e has successfully related the #alue of the poem to the student-s personal e)perience. & good teacher will be able to pro#ide opportunities for children to make connections between their understanding of lesson themes and their own personal e)periences. This will allow for understanding and promoting ownership of learning. %ndirectly, learners will be able to model the right beha#ior to be adopted when they are dealing with their siblings or friends.
A&ti,it" @ (ow based on your understanding, list down the pedagogical principles that you need to focus on in the selection of songs and poetry for young learners. 33
&nswer JJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJ Tut'ria! ta#4 1. <ead the poem below. %dentify if this poem is suitable to be taught to a group of young learners. $ro#ide reasons for your choice of answer. "nce it was snowing. E#erything was cold. E#erything was asleep. Then the sun came out and warmed the ground. %t started to rain. Seeds under the ground started to grow. Little caterpillar s crawled around. They curled up and turned into buterflies. The sun got hotter. The seeds grew to flowers. Butterflies flew around. %t was spring.
Source 'henfeld, M. B. 4166G B17
3. Study the diagram below and fill in the bo) with suitable words=pharses.
EnA'"a=!e Fu!! '* $ra&ti&e Su$$'rte) Meanin(*u! Pur$'#e*u! S'&ia!
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<ead, '. 4166I, &pril7. The challenge of teaching children. -n!lish Teachin! .ro/essional, # I! 15. <etrie#ed September 1, 3513, from http ==www.etprofessional.com=articles=challenge.pdf
SESSION 2 6- 'ur#8 -./ Lin4in( P'etr" an) S'n(# *'r .i%en#i'n# in t e Ma!a"#ian Pri%ar" ESL Curri&u!u% Besides pedagogical principles, the teaching of English in the primary schools is also based on three broad themes. 35
A&ti,it" 10 2ith reference to the English language syllabus identify the three broad themes. i. ii. iii. JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ
/ou will notice that the three broad themes are highlighted in all primary school English language syllabi. They play an important role in the teaching of English. The three themes are shown in >igure 1.
possessions #alues beha#iour attitude Stories belongings relationships Self, >amily, >riends brother sister friends neighbours ob:ects Shapes Transportation food ;nowledge colours health
Two of the ob:ecti#es highlighted in the English Syllabus are for the students to = appreciate and demonstrate understanding of English language literary or creati#e works for en:oyment,
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read and comprehend a range of English te)ts for information and en:oyment.
Therefore, it is important for you to be able to acti#ate studentsimagination and interests through fun and meaningful learning.
A&ti,it" 11 2ith reference to the /ear Two English syllabus, identify three learning standards related to the teaching of songs and poetry in the classroom. i. JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ ii. JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ iii. JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ
%n order to achie#e these learning standards, the selected materials must be related to the rele#ant themes. (ow let us look at each theme closely.
-./.1 W'r!) '* #e!*: *a%i!" an) *rien)#
The young of the human species are not like sea turtles left to hatch themsel#es then run for their li#es to the water. They are not like insects, curled in cocoons 37
until they must wing it on their own. The most helpless of all infants, human babies ae totally dependent on the care of the others.
Source 'henfeld, M. B. 4166G 1567 'reati#e e)periences for young children. >L @arcourt Brace 'ollege $ublishers.
Based on the statement abo#e, one will understand the importance of educating young learners from the day they were born. /oung learners are #ery much dependent on elders for guidance to sur#i#e in this world. Therefore, a teacher plays an important role in coaching them to ac*uire the necessary skills and knowledge in order for them to become life long learners. The theme on 2orld of self, family and friends mainly focuses on the child=learner. & child learns to be familiar with oneself followed by family members and later the friends they meet. Therefore, this theme highlights three specific areas, namelyO self family friends
'hildren becomes #ery conscious of themsel#es as they are growing up. >irst, they become curious about themsel#es. They are eager to know about themsel#es such as body parts, relationships, clothings, possessions, likes and dislikes. &s a result, children will first learn things related to them. >or e)ample, wanting to taste each food they see, eager to touch things they come across due to curiosity and getting to know people around them.
A&ti,it" 12 Look at the list of topics below. Label each topic according to the themes by placing a tick 4 7 in the right bo). 38
T'$i& @oorayM 2e are back 8o the right thing 2here am %+ <ead me a story % am special 8elicious food 9rowing plants 2hen % grow up. 'aring and sharing Looking good "n the >arm 9ood deeds Sa#e the sea creatures <euse, recycle Myths
W'r!) '* Se!*
W'r!) '* Fa%i!"
W'r!) '* Frien)#
'hildren must know that in addition to the family they li#e with and their e)tended families, their family of friends at school, they belong to the great @uman >amily. Especially in these difficult times for so many children who feel alienated and abandoned, their relationship to greater family structures is important and appreciated. Source 'henfeld, M. B. 4166G 13G7 'reati#e e)periences for young children. >L @arcourt Brace 'ollege $ublishers (e)t, students are conscious of their own family members. >amily is basic to all people consisting of many members. >amily members are a source of creati#e and important learning e)periences. Since family members consist of parents, stepparents, uncles, aunts, grandparents, cousins and siblings among others, they ha#e much to contribute to children-s li#es. 'hildren can talk about oneself and family and their personal details. They can also talk about happenings in their e#eryday life. Sometimes we ha#e such good friends and neighbours that we think of them as members of our own family. >riends and family members are people who care about us. 39
A&ti,it" 1<ead the poem below and answer the *uestions that follow. T e Gree)" 9'" ,<ain or shine % want what-s mine,. so said the greedy boy. ,My game, my bike, my ball of twine, my basket full of toys. % don-t care % will not share,. he said to the bitter end, and so with despair, no one would dare to make this boy their friend.
Timothy <asinski
2ould you use this poem to teach your primary school students+ 9i#e your reasons. JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ CThe 9reedy Boy- is a good poem to be introduced to primary school students for these reasons. The poem focuses on a boy who refuses to share his toys with his friends. Being possessi#e is one common characteristic among young children which normally ends up with fights among brothers, sisters and friends. They need to be taught the #alue of friendship and being able to share their things with others. This poem highlights the need to share among family and friends. %t also highlights the conse*uence of not sharing that is not ha#ing any friends to play with. 40
-./.2 W'r!) '* 4n'2!e)(e The ")ford dictionary defines knowledge as -the state or condition of understanding Ssome matterT, ac*uired by learning. %t is best achie#ed by using songs and poems because the outcome of indi#iduals mental processes can be gi#en e)ternal representations through symbolic systems such as language and music. "ne way of making young learners gain knowedge is through songs and poetry. Since they are attracted to music, songs and poetry can be used as tools to teach these learners the re*uired knowledge. >or e)ample, learning of alphabets, numbers, ob:ects around them, festi#als and celebrations among others.
A&ti,it" 1/ <earrange the topics listed below in the order you would teach them for a /ear 1 class. T'$i& &ll about me 'had My Milkman % see colours %n the garden Let-s be friends Let-s go shopping Listen to me Look at me Meet my family Sound around us Stay clean, be happy 2hen is your birthday+ Or)er
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These topics are taken from the /ear 1 English syllabus. /ou will notice that they are se*uenced in the following manner Talking about self and friends 2ays of taking care of oneself 9etting to know family members and friends Learning about things around them
2orld of knowledge deals with the things young learners see or feel around them. >or e)ample, in /ear "ne, they are re*uired to identify and distinguish the shapes of the letters in the alphabet. They are also re*uired to #oice the sounds of words. Learners are also re*uired ot listen and follow simple instructions in the classroom. Besides this, they also need to know how to keep themsel#es clean and healthy. These information are necessary for young learners to learn and follow through the theme 2orld of ;nowledge. "ne e)ample of a poem dealing with the theme is pro#ided below.
Re) Mean# St'$ Stop, stopM $lease, do not go. The big red sign Tells us so. % know that, &nd so does Aoe. <ead means stop, &nd green means go. Tim <asinski
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The abo#e poem is suitable to be taught in the primary classroom. The topic is rele#ant since it pro#ides information on traffic rules and regulations. Learners will be able to be aware of road safety and learn from young the importance of following these rules. Besides, they will also learn colours which is another important aspect to be taught.
A&ti,it" 1< 5ere0# a Ra==it "h, here-s a fluffy rabbit 2ith two ears so #ery long See him hop, hop, hop about "n legs so #ery strong, @e nibbles, nibbles carrots >or his dinner e#ery day &nd as soon as he has had enough @e hops, hops, hops away.
%dentify and discuss why this poem falls under the theme 2orld of ;nowledge. 2hat would the students learn from the abo#e poem+ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ
-./.- W'r!) '* #t'rie# The theme 2orld of Stories focuses on stories that capture young learners- interests in learning. /oung children lo#es to listen to stories and
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these stories can be in the form of poems and songs. "ne e)ample is shown below.
Three Little Kittens Three little kittens, They lost their mittens, &nd they began to cry, "h, mother, dear, 2e sadly fear, "ur mittens we ha#e lost. 2hatM Lost your mittens, /ou naughty kittens, Then you shall ha#e no pie. Meow, meow, Then you shall ha#e no pie. The three little kittens, They found their mittens, &nd they began to cry, "h, mother, dear, See here, see here, "ur mittens we ha#e found. 2hat, found your mittens, Then youDre good kittens, &nd you shall ha#e some pie. $urr!rr, purr!rr, Then you shall ha#e some pie. Three little kittens, $ut on their mittens, &nd soon ate up the pie. "h, mother, dear, 2e sadly fear, "ur mittens we ha#e soiled. 2hatM Soiled your mittens, /ou naughty kittens, 44
&nd they began to sigh. Meow, meow, &nd they began to sigh. The three little kittens, They washed their mittens, &nd hung them out to dry. "h, mother, dear, 8o you not hear, "ur mittens we ha#e washed+ 2hatM 2ashed your mittens+ Then youDre good kittensM But % smell a rat close by. Meow, meow, 2e smell a rat close by.
Source http ==www.i#y:oy.com=fables=mothergoose.htmlUwoman
A&ti,it" 17 -Three Little ;ittens- is poem suitable to be introduced for the primary school children. 8iscuss how this poem can be used to help students in in learning the language. JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ
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<ead the poem -& Mouse-s Tail- written by Lewis 'aroll which is taken from the mo#ie -&lice in 2onderland-. &s you read, identify if this poem is suitable for your students in school.
T e M'u#eB# Ta!e =" Le2i# Carr'!! NMine is a long and a sad taleMN said the Mouse, turning to &lice, and sighing. N%t is a long tail, certainly,N said &lice, looking down with wonder at the MouseDs tailO Nbut why do you call it sad+N &nd she kept on puFFling about it while the Mouse was speaking, so that her idea of the tale was something like this V
>?$ry sa'd to a mo$se@ Ahat he met '! the ho$se@ BLet $s both "o to ,aw( I w',, rose+$te
you.C 3ome@ DB,, take !o de!'a,E 2e m$st have a tr'a,( ?or
rea,,y th's mor!'!" DBve !oth'!" to do.B
<a'd the mo$se to the +$r@ B<$+h a tr'a,@ dear s'r@ 2'th !o F$ry or F$d"e@ wo$,d be
46

wast'!" o$r breath.B
BDB,, be F$d"e@ DB,, be F$ry@B <a'd +$!!'!" o,d ?$ryE BDB,, try the who,e +a$se@ a!d +o!dem! yo$ to death.B >
N/ou are not attendingMN said the Mouse to &lice, se#erely. N2hat are you thinking of+N N% beg your pardon,N said &lice #ery humbly, Nyou had got to the fifth bend, % think+N N% had not0N cried the Mouse sharply and #ery angrily. N& knotMN said &lice, always ready to make herself useful, and looking an)iously about her. N"h, let me help to undo itMN N% shall do nothing of the sort, said the Mouse, getting up and walking away. N/ou insult me by talking such nonsenseMN Source http ==bootless.net=mouse.html
This poem is suitable for upper primary students for these reasons. First, the teacher can turn the text into a mental movie that allows students to visualize the content of the poem. This is possible since the text is taken from the famous movie Alice in onderland. !econd, student can infer
what happened before and after the poem which will further enhance their understandin" of the text. Third, the choice of diction used should be ords such as trial,
suitable for students in the upper primary school.
#ury, prosecute and #ud"e can be tau"ht to them since they should be able to understand these terms.
47
Furt er Rea)in( $lease refer to the following website for additional information. Salcedo, '. S. 435537. The e//ect o/ son!s in the /orei!n lan!(a!e classroo on te1t recall an" invol(ntary ental rehearsal. 4unpublished doctoral dissertation7. 'o(isiana State 2niversity, <etrie#ed from http ==etd.lsu.edu=docs=a#ailable=etd!1111153! 350I3B=unrestricted=SalcedoJdis.pdf
Tut'ria! Ta#4 <ead the poem below. 8iscuss why this poem is suitable to be used in the primary classroom. Austify your choice by making reference to the pedagogical principles. Mar"0# La%= Mary had a little lamb, %ts fleece was white as snowO &nd e#erywhere that Mary went, The lamb was sure to go. %t followed her to school one day 2hich was against the ruleO % made the children laugh and play, To see a lamb at school. &nd so the teacher turned him out, But still he lingered near, &nd waited patiently about, Till Mary did appear. &nd then he ran to her and laid, @is head upon her arm, &s if he said, C%-m not afraid ! /ou-ll shield me from all harm.C2hat makes the lamb lo#e Mary so+48
The little children cryO C" Mary lo#es the lamb, you know,The teacher did reply. C&nd you each gentle animal, %n confidence may bind, &nd make it follow at your call, %f you are always kind. Sarah Aosepha @ale 41LII!1IL67 source http ==www.mothergoosecaboose.com=newstuff=nrb=(Q<SE</<@/MEB" ";.pdf
Re*eren&e#
'henfeld, M. B. 4166G 1567 +reative e1%eriences /or yo(n! chil"ren. >L @arcourt Brace 'ollege $ublishers Edelenbos, $.O Aohnstone, <.O ;ubanek, &. 435517. The ain %e"a!o!ical %rinci%les (n"erlyin! the teachin! o/ lan!(a!es to very yo(n! learners 'an!(a!es /or the chil"ren o/ -(ro%e. <etrie#ed from http ==ec.europa.eu=education=policies=lang=doc=youngJen.pdf 9eyer, P. 635517. Son!s an" rhy es in teachin! -n!lish at %ri ary schools . <etrie#ed from http ==www.grin.com=en=e!book=1511G5=songs!and!rhymes! in!teaching!english!at!primary!schools $iaget, A. 416L57. The Science o/ -"(cation an" the .sycholo!y o/ the +hil" . 9rossman (ew /ork. <asinski, T. and ;aren Mc9uigan Brothers 435517. .oe s /or wor" st("y. QS& Shell Education $ublishing. <ead, '. 4166I, &pril7. The challenge of teaching children. -n!lish Teachin! .ro/essional, # I!15. <etrie#ed from http ==www.etprofessional.com=articles=challenge.pdf Mother goose and selected nursery rhymes. <etrie#ed from http ==www.i#y:oy.com=fables=mothergoose.htmlUwoman
49
TOPIC /A
PRINCIPLES OF SELECTION AN. A.APTATION OF SONGS
/.0 SYNOPSIS Topic 0& highlights on the principles of selection and adaptation of songs. This session will focus on the principles of selection of songs for young learners by looking at the purposes for using songs in the ESL classroom, the principles of song selection and the techni*ues of using songs in the classroom. %t will also highlight on the adaptation of songs for the language classroom.
/.1
LEARNING OUTCOMES By the end of Topic 0, you will be able to identify the principles of selection and adaptation of songs for use in the primary ESL classroom :ustify the choice of song selection using the criteria of te)t selection
50
adapt and :ustify songs collected using the principles of te)t simplification
/.2
FRAMEWORK OF TOPICS S"(9S
Selection
&daptation
$urposes Techni*ue 'riteria of s Te)t CONTENT Selection /.2 TOPIC FOUR A 6- 5OURS8 Teachers should Nplace students in an en#ironment in which it is appropriate to use target utterances in a genuinely communicati#e fashion.N 49atbonton and SegalowitF, 16II, p.0L17. &s songs present an authentic use of language, teachers are ad#ised to use songs as part of their classroom teaching repertoire. This is because apart from presenting language in an authentic way, songs are also easily obtainable, pro#ide #ocabulary, grammar and cultural aspects and are fun for your students. Songs pro#ide #aluable speaking, listening and language practice in and out of the classroom. %t will also look at learner le#els and cultural considerations. /.2.1 SELECTION OF SONGS FOR YOUNG LEARNERS The following section will focus on the types of songs, purposes of using songs in the classrooms, the criteria of te)t selection and suggestions of techni*ues or acti#ities that could be used in using songs in the language classroom. /.2.1.1 T"$e# '* #'n(#
51
Lets think about this...

%n your opinion, what type of songs would be suitable for classroom use+ List at least B types. 2hy are the songs you ha#e listed abo#e suitable for classroom use+ List at least G criteria.
There are different types and genres of songs you can choose from to teach in the language classroom. @ere are some e)amples of the different types of songs that can be used with your students
(o 1.
Types Special occasion songs
8escription Songs which are sung on certain occasions or at certain times of the year. Songs, usually children-s songs, which are sung to accompany certain games Songs which re*uire actions or some sort of mime to be performed while singing them. Specially written songs for teaching.
3.
Songs and games
B.
&ction songs
0.
Songs where one structure or a lot of le)is is repeated o#er and o#er again Songs which tells a story.
G.
Songs that narrate stories.
(So(rce* ,(bbar", .., 3ones, ,. , Thornton, 4. 5 6heeler, 7. ) Trainin! +o(rse /or T-F'. 8998)
52
Provide some examples for the each type of songs listed in the table in 6.3.1
/.2.1.2
Pur$'#e# *'r U#in( S'n(# in t e Lan(ua(e C!a##r''%

2hy do teachers use songs in the classroom+ List at least G reasons. 2hat are the ad#antages of using songs in the teaching and learning of English classroom+ List at least G ad#antages.
There is strong practical e#idence supporting the use of music in the English language classroomO there is also a growing body of research confirming that songs are a useful tool in language ac*uisition. %n fact musical and language processing occur in the same area of the brain 4Medina, 166B7. Murphy 416637 suggests that carefully selected songs are particularly appropriate for language learning, because their discourse includes simple, affecti#e language with riskless communication *ualities, familiar nati#e te)ts, a high #erb count, and familiar #ocabulary. 'ertain songs may be easily remembered due to the *uality of the melody and the te)t. $op songs and ad#ertisement :ingles ha#e melodies that are catchy and easily learned thus making them #ery suitable to be used in the language classroom with young learners. Songs can be used for a number of purposes and there are many reasons why songs can be considered a #aluable pedagogical tool. $erhaps the greatest benefit to using songs in the classroom is that they can be funM %n line with the (ational $hilosophy of Education Malaysia, the main purposes for using songs in
53
the ESL classroom is because of its potential to de#elop students in the following areas $ersonal de#elopment &esthetic de#elopment 'ultural de#elopment Language learning de#elopment Moral #alues Some key reasons songs can work e)ceedingly well in ESL language classroom include the following S'n(# eC$'#e# #tu)ent# t' aut enti&: natura! !an(ua(e. Gra%%ar an) &u!tura! a#$e&t# &an =e intr')u&e) t r'u( #'n(#. S'n(# eC$'#e# #tu)ent# t' a 2i)e ran(e '* a&&ent#. S'n(# &an =e #e!e&te) t' #uit t e nee)# an) intere#t# '* t e #tu)ent#. Songs can help young learners impro#e their listening skills and pronunciation.. %t pro#ides pronunciation practice 4stress and rhythm, and indi#idual sounds7 and intonation when speaking, mo#ing around and using gestures. This will therefore help young learners to impro#e their speaking skills Songs can also be useful tools in the learning of #ocabulary, sentence structures, and sentence patterns. A ,ariet" '* ne2 ,'&a=u!ar" &an =e intr')u&e) t' #tu)ent# t r'u( #'n(#. Qnlike structure drills, songs gi#e students intensi#e practice in selected patterns, but without boredom. S'n(# are u#ua!!" ,er" ea#i!" '=taina=!e. Songs promote learner independence.
54
%t increases students- moti#ation to learn the language 4weaker students will feel a real sense of achie#ement when they are able to learn a new song7.
Songs help to promote cooperation 4singing is a group acti#ity that helps bring students together and breaks down barriers of reser#e which pre#ents them learning the language effecti#ely7
Qsing songs reinforces other things the teacher is working on in the classroom such as discipline, teaching students to work together, rewarding good beha#iour and fostering teamwork amongst students.
Students ha#e fun and are therefore moti#ated for the rest of the lesson and future lessons. Students learn *uicker than with other methods. Songs make the learning e)perience more memorable. Students lose some of their inhibitions about speaking out.
(So(rce*
htt%*::www.eslbase.co :articles:son!s7
/.2.1.-
Criteria *'r S'n(# Se!e&ti'n

hat factors should be considered when selectin" son"s for the lan"ua"e classroom$ %ist at least & factors. hy do you think that the factors you have identified are crucial$ 'ustify.
The way you teach and the practice acti#ities you do depend to a large e)tent on the sort of songs you ha#e chosen. There are factors that you need to consider
55
when using songs and how they can be used effecti#ely in your language classroom. i. Learner Le,e!#
Learner le#els is the most important criteria that must be considered in the selection of a teaching learning material, in this case songs. Learner le#els is also an important consideration in designing teaching learning acti#ities. Much of this ha#e been elaborated earlier in the section <eadibility of Te)t. (uttal 416I37 argues a te)t should be at the right le#el with the student-s proficiency. Students can be categoriFed into three le#els of proficiency which are elementary, intermediate and ad#anced le#els. %n selecting songs, a teacher needs to choose the ones that suit their students- le#el in terms of te)t difficulty and language comple)ity 4#ocabulary, structure7. 2hen we try to find a readable te)t, we ha#e to assess the le#el of its structural and le)ical difficulty. Still, the students can still deal with more difficult te)ts, pro#ided the task is not too challenging. ii. Cu!tura! C'n#i)erati'n#
Songs reflect culture and by using these songs can gi#e your students the opportunity to ac*uire a better understanding of the culture of the target language. %n choosing songs, you ha#e to consider the following factors 'ultural biasness Sensiti#ity to the impact of culturally!induced beha#iour >amiliarity to learners- background knowledge The use words or e)pressions which are percei#ed as inappropriate, offensi#e or #ulgar in the conte)t of the students %f you find that the lyrics of the songs are not suitable, for e)ample, if it contains slang or offensi#e words, you may need to adapt the lyrics to suit your students. 56
iii.
Ot er C'n#i)erati'n#
Little 416IB7 offered some song selection criteria for language teachers the song should be popular the song should be meaningful to the student the song should be slow enough to test comprehension as well as clear enunciation on the part of the singer the le#el of language used in the song should be simple with no difficult idioms, slang or #ulgarities the tune should be catchy, easily remembered and age!appropriate
The following are criteria for selection and adaptation of songs that need to be considered &. B. '. <eadability of te)t Suitability of content E)ploitability
These song selection criteria are discussed in the following sections. A. Rea)a=i!it" '* TeCt

hat do you think the term (readibility of text) mean$ hat does it refer to$
<eadability is a measure of the comprehensibility of written te)t. %t is the combination of le)ical 4i.e. #ocabulary7 and structural difficulty found in a te)t. 4(uttal,16I37. @ence, the songs chosen should be at the right le#el of difficulty for your students. Therefore, select songs that are appropriate to your students57
le#el of proficiency in terms of sentence length, word length within sentences, comple)ity of #ocabulary and sentence structure. The following are some *uestions you might want to ponder on when selecting 2hat is my students- language le#el+ @ow much new #ocabulary 4le)ical7 is acceptable+ &re there structural difficulties in the song+ 'an your students understand the meaning of the songs and can it be made clear in a *uick and easy way+
(So(rce** htt%*::www.(sin!en!lish.co :articles:(sin!-son!s-with-yo(n!-learners.ht l)
9.
Suita=i!it" '* C'ntent

2hat does ,suitability of content. mean+ 2hich kind of content might be suitable and might not be suitable+
Students- interest is among the most important re*uirement you should take into consideration in te)t selection 4(uttal, 16I37. S'n(# &an =e #e!e&te) t' #uit t e nee)# an) intere#t# '* "'ur '2n #tu)ent#. There are many English songs a#ailable for selection with suitable themes, le#els and #ocabulary which is not at all difficult. 2hen selecting songs for their content suitability, you need to make sure of the following what type and genre of songs appeal to your students+ is the content of the song 4issue raised7 appropriate for your students 4social cultural background, maturity le#el7+ does the song present an authentic use of language+
58
does the song contain slang or offensi#e words and o#erly crude, foul or otherwise ob:ectionable language which is inappropriate especially for young learners+
(So(rce* htt%*::www.(sin!en!lish.co :articles:(sin!-son!s-with-yo(n!-learners.ht l)
2ith careful screening, you can compile an e)tensi#e library of usable songs for students in your language classrooms. C. EC$!'ita=i!it"

2hat do you understand by the word ,e)ploitability.+
E)ploitability means that the te)t should facilitate the de#elopment of reading skills in order to help the students become competent and independent readers 4(uttal, 16I37. @owe#er, in the conte)t of song selection, the term e1%loitation could also be translated as the /acilitation o/ learnin!. This means, a good song is one which you can e)ploit in your teaching. 2hen you e)ploit a song, you make use of it to de#elop your students- competence in achie#ing their learning outcomes. 2hen selecting songs for their e)ploitability, you need to make sure of the following factors is the song suitable for your students in terms genre, speed, content 4issues, language comple)ity7+ is there repetition of particular words and phrases+ is the language in the song similar to the language they will be able to use in other parts of the class and= or outside the class+
59
does the song consist of the #ocabulary = grammatical item = sentence structure you wish to teach+ are the songs- tune and lyric memorable+ does the song allow for plenty of actions and mo#ements+
()"a%te" /ro htt%*::www.(sin!en!lish.co :articles:(sin!-son!s-with-yo(n!-learners.ht l)
'hoose a catchy song that students can easily sing and memoriFe until ne)t time you sing it in class. 'hoose songs that which are easy to understand, to e)plain and to e)press. &#oid translation as much as possible but instead, perform actions. This pro#ides a good platform for students to ha#e fun and therefore moti#ates them for the rest of the lesson and future lessons. /.2.1./ Te& ni3ue# in U#in( S'n(# 2it Y'un( Learner#
There are a #ariety of different ways or techni*ues to use songs in the classroom. Some teachers prefer to use background music and others use music lyrics as the basis of a lesson. 9enerally, at the lower primary le#el, techni*ues employed focussing on %roso"ic /eat(res 4suprasegmental features7 of the language are often emphasiFed. "n the other hand, techni*ues employed at the higher primary le#el focussed on the %ractice o/ !ra ar ite s.

'an you think of two acti#ities each, to be carried out with the song ,"ld Mc8onald. and ,Ten Little %ndians.+
The following are se#eral techni*ues you can employ when using songs in the language classroom 8ictation >ocus *uestions 60
'lass discussion &dd a final #erse True!false statements 9ap fills or close te)ts Teach reading comprehension Teach listening for details and gist $ut lines into the correct se*uence Teach pronunciation and intonation Teach and build #ocabulary and idioms 'ircle the antonyms=synonyms of the gi#en words %ntroduce a new theme or topic 4colours=feelings etc7 'hange the mood 4li#en things up or calm things down7 <e#iew material 4background music impro#es memory7 Breaking the ice in a class where students do not know each other or are ha#ing difficulty communicating Teach songs and rhymes about difficult grammar and spelling rules that need to be memoriFed 4Ni before eN, irregular #erbs, phrasal #erbs7
So(rce* htt%*::www.en!lishcl(b.co :teachin!-ti%s: (sic-classroo .ht htt%*::www2.vobs.at:l("escher:;ra ar:teachin!<!ra ar<thro(!h<son!s <a.ht
@ere is a sample acti#ity that you could use with your students E!e$ ant S'n( (teacher an" st("ents actions are in"icate" in brac$ets) 2hat is that noise (c(% han" to ear) Qp in the attic (%oint over yo(r hea") %t is an elephant ( a$e a tr(n$ with yo(r ar ) 'ycling round and round. (cyclin! 61 otion with le!s)
%t is an elephant ( a$e a tr(n$ with yo(r ar ) &ll chic and elegant (/ashion o"el %ose) 2ith one tail here ( a$e tr(n$ with yo(r ar ) &nd one behind. (%oint to where yo(r tail wo(l" be i/ yo( ha" one0) <epeat the song a number of times, each time, you stop singing one line of the song, but continue to do the action for that line. By the end of the song all youDre doing is actions, no singing. 4source http ==songsandpoetryforesl.weebly.com=7 A. Ti$# 'n Carr"in( Out A&ti,itie# U#in( S'n(#
@ere are some tips on how to use poems with young learners in the English classroom. i. ii. iii. i#. #. #i. #ii. $ick the right song. %f it is a new song introduce it slowly. %f you like the song but find that some of the words are too difficult, consider adapting the song. Teach the lyrics of the song by using materials like flash cards or book. Teach the song slowly at first, if possible use meaningful gestures. $lay the song, and gi#e it a tryM $lay games that deal with the #ocabulary in the song.
(Source: http://www.teachingvillage.org/2010/03/2 /teaching!"oung!learner#!with! #ong#!$"!%att!richel#on/&
/.2.2 A.APTATION OF SONGS The following section will focus on factors to consider when adapting songs for use in the language classroom.

!ometimes we find ourselves in a position whereby we need to adapt 62
some of the son"s we would like use. %ist at least & reasons why we mi"ht need to adapt some of the son"s.
Some of the most basic childrenDs songs can sometimes be too difficult. @ence, you may need to adapt the songs to suit your students. %nstances where an adaptation may be needed are when the song-s beat is too fast when the song is too long when the #ocabulary and sentence structure used are too comple) or too difficult when the lyrics does not allow any gesture and dance the lyrics may not be suitable and contain slang or offensi#e words and grammatical mistakes when the lyrics only marginally teach the language points you want to focus on. The following are factors of consideration in adapting songs Le)ical items Sentence structure 'ontent &s such, you may ha#e to do any one or all of the following to meet to the needs of your students or your teaching point adapt the song by making the melody appropriately paced make the tempo or beat slower if the song-s beat is too fast. find an appropriate point to end the song if it is too long. adapt the song by replacing the wordings = lyrics which are difficult with simpler words. simplify the words or sentence structure of the lyrics of the songs chosen. reduce most carefully some of the lyrics of the songs chosen. 63
adapt the song by replacing some of the words with words which will allow gestures. adapt the song by including the language points you want to focus on.
%n adapting the songs you ha#e selected, you can made them simple for your students by creating songs that are appropriately paced, lyrically simple, full of space for mo#ement, easily taught through gesture, and >Q(M %n the bo) below is a modified lyrics from the song the song The 6heels on the 4(s The adaptations are in bold. By adapting the song in this way, you ha#e the ad#antage of being able to select a particular language feature and incorporate it into the song. This feature could be an item of #ocabulary, synta), phonology, or a simple con#ersational e)pression. This allows you to incorporate more songs into a curriculum and sa#e time searching for and learning new songs.
S"(9 T@E 2@EELS "( T@E BQS
Ori(ina! L"ri&#
A!ternati,e L"ri&#
'he fish in the sea goes swim, swim, swim, swim, swim, swim, swim, swim, swim. 'he fish in the sea goes swim, swim, swim, all (a" long) 'he lobster in the sea goes pinch, pinch, pinch, pinch, pinch, pinch, pinch, pinch, pinch. 'he lobster in the sea goes pinch, pinch, pinch, all (a" long) 'he crab in the sea goes click, click, click, click, click, click, click, click, click. 'he crab in the sea goes click, click, click, all (a" long) 'he octopus in the sea goes wiggle, wiggle, wiggle, wiggle, wiggle, wiggle, wiggle, wiggle, wiggle. 'he octopus in the sea goes wiggle, wiggle, wiggle, all (a" long.
The wheels on the bus go round and round. round and round. round and round. The wheels on the bus go round and round, all through the townM The people on the bus go up and down. up and down. up and down. The people on the bus go up and down, all through the townM The horn on the bus goes beep, beep, beep. beep, beep beep. beep, beep, beep. The horn on the bus goes beep, beep, beep. all through the townM The wipers on the bus go swish, swish, swish. swish, swish, swish. swish, swish, swish. The wipers on the bus go swish, swish, swish, all through the townM The signals on the bus go blink, blink, blink.
64
blink, blink, blink. blink, blink, blink. The signals on the bus go blink, blink, blink, all through the townM The motor on the bus goes Foom, Foom, Foom. Foom, Foom, Foom. Foom, Foom, Foom. The motor on the bus goes Foom, Foom, Foom, all through the townM The babies on the bus go waa, waa, waa. waa, waa, waa. waa, waa, waa. The babies on the bus go waa, waa, waa, all through the townM The parents on the bus go shh, shh, shh. shh, shh, shh. shh, shh, shh. The parents on the bus go shh, shh, shh, all through the townM The mommy on the bus says, % lo#e you. % lo#e you, % lo#e you The daddy on the bus says, % lo#e you, too. &ll through the town. So(rce* htt%*::b(sson!s.co :son!s:wheels-on-the-b(s-!o-ro(n"-an"-ro(n".%h% htt%*::www.yo(t(be.co :watch=v>3"?$@SM/Av)
an you come up !ith other alternatives to the song lyrics above"
More practice...
Practice 1
1. 3. %dentify the melody of the songs below by carrying out a search for the song on /outube . %dentify the le#el and the background of the students you can use the songs with in a language classroom. 4year, rural=urban, proficiency le#el7 65
B. 0.
Think of a few acti#ities to carry out based on the poem. Austify your answers using the principles of te)t selection below ! the teaching learning purposes ! the selection criteria ! your learners- le#el 4proficiency, maturity7 ! cultural considerations &dapt the song using the principles of te)t simplification and :ustify your adaptation.
It0# a S%a!! W'r!) Mi## Lu&" 5a) a 9a=" Miss Lucy had a baby, @is name was Tiny Tim, She put him in the bathtub To see if he could swim. @e drank up all the water, @e ate up all the soap, @e tried to eat the bathtub, But it wouldnDt go down his throat. Miss Lucy called the doctor, Miss Lucy called the nurse, Miss Lucy called the lady 2ith the alligator purse.
G.
%t-s a world of laughter, a world of tears, %t-s a world of hopes, and a world of fears, There-s so much that we share, That it-s time we-re aware, %t-s a small world after all. %t-s a small world after all 4B )7, %t-s a small, small world. There is :ust one moon and one golden sun, &nd a smile means friendship to e#eryone, Though the mountains di#ide, &nd the oceans are wide, %t-s a small world after all.
It#";9it#" S$i)er The itsy!bitsy spider 'limbed up the water spout 8own came the rain &nd washed the spider out "ut came the sun &nd dried up all the rain &nd the itsy!bitsy spider 'limbed up the spout again
.' Re Mi 8oe ! a deer, a female deer, <ay ! a drop of golden sun, Me ! a name % call myself >ar ! a long, long way to run, Sew ! a needle pulling thread, La ! a note to follow so, Tea ! a drink with :am and bread, That will bring us back to doe, oh,oh,oh.. B 7e%eat (2 1) 8o!<e!Mi!>a!So!La!Ti!8o, So!8o.
9INGO T ere 2a# a *a%er a) a )'( an) 9in(' 2a# i# na%e;' 9INGO: 9INGO: 9INGO
Y'u0,e G't a Frien) 9" Car'!e Kin( 2hen youDre down and troubled &nd you need some lo#ing care
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&nd nothing, nothing is going right 'lose your eyes and think of me &nd soon % will be there To brighten up e#en your darkest night /ou :ust call out my name &nd you know where#er % am %Dll come running to see you again 2inter, spring, summer or fall &ll you ha#e to do is call &nd %Dll be there /ouD#e got a friend %f the sky abo#e you 9rows dark and full of clouds &nd that old north wind begins to blow ;eep your head together &nd call my name out loud Soon youDll hear me knocking at your door /ou :ust call out my name &nd you know where#er % am %Dll come running to see you 2inter, spring, summer or fall &ll you ha#e to do is call &nd %Dll be there &inDt it good to know that youD#e got a friend 2hen people can be so cold TheyDll hurt you, and desert you &nd take your soul if you let them "h, but donDt you let them /ou :ust call out my name &nd you know where#er % am %Dll come running to see you again 2inter, spring, summer or fall &ll you ha#e to do is call &nd %Dll be there /ouD#e got a friend
an) 9in(' 2a# i# na%e;' (+la% when yo( see a B ) T ere 2a# a *a%er a) a )'( an) 9in(' 2a# i# na%e;' DINGO: DINGO: DINGO an) 9in(' 2a# i# na%e;' T ere 2a# a *a%er a) a )'( an) 9in(' 2a# i# na%e;' DDNGO: DDNGO: DDNGO an) 9in(' 2a# i# na%e;' T ere 2a# a *a%er a) a )'( an) 9in(' 2a# i# na%e;' DDDGO: DDDGO: DDDGO an) 9in(' 2a# i# na%e;' T ere 2a# a *a%er a) a )'( an) 9in(' 2a# i# na%e;' DDDDO: DDDDO: DDDDO an) 9in(' 2a# i# na%e;' T ere 2a# a *a%er a) a )'( an) 9in(' 2a# i# na%e;' DDDDD: DDDDD: DDDDD an) 9in(' 2a# i# na%e;' T ere 2a# a *a%er a) a )'( an) 9in(' 2a# i# na%e;' 9INGO: 9INGO: 9INGO an) 9in(' 2a# i# na%e;'
Practice 2
Writin( Para!!e! L"ri&#
L'n)'n 9ri)(e London Bridge is falling down, >alling down, falling down, London Bridge is falling down, My fair lady. Ta4e t e 4e" an) !'&4 er u$: L'&4 er u$: !'&4 er u$: Ta4e t e 4e" an) !'&4 er u$: L'&4 er u$: !'&4 er u$, My fair lady.
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a7
The following phrases are also sung similar to the wordings of the #erse in bold. 1. Build it up with iron bars 3. %ron bars will bend and break B. Build it up with sil#er and gold
'an you come up with other e)amples for the #erse+ b7

I* Y'u0re 5a$$" %f you-re happy and you know it, +la% your hands 43 )7 %f you-re happy and you know it, Then you-ll really want to show it, %f you-re happy and you know it, +la% your hands.
JJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJ
"ther e)amples of the first #erse 1. Stamp your feet 3. (od your head B. Turn around 0. Say ,2e areM. G. JJJJJJJJJJJJJJJJJ 1. JJJJJJJJJJJJJJJJJ
Practice 3
.i#&u## an) # are "'ur ,ie2# 1. Browse through the internet and select one from each genre of songs below for the following groups of students Students- background & classroom of /ear 0 low proficiency students in the rural area. & classroom of /ear 1 high proficiency students in a SBT in ;uala Lumpur. Song genre pop ballad pop ballad
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2. Austify your choice of selection based on the following principles of te)t selection ! 'riteria ! $urposes ! Techni*ues ! Learners- Le#el ! 'ultural considerations 3. /ou may ha#e to adapt the songs classroom use. Austify your adaptation 4refer to 1.B.B7. 4. Suggest suitable acti#ities based on the songs you ha#e selected and describe in simple teaching steps how you would carry out the acti#ities.
Re*eren&e# 'o), '.4355I7. Teachin! 'an!(a!e )rts* ) St("ent-centere" +lassroo , 41thed7. QS& &llyn E Bacon. 9atbonton, E. E SegalowitF, (. 416II7. 'reati#e automatiFation $rinciples for promoting fluency within a communicati#e framework. TESOL Euarter!": 33, 0LB!063. @ubbard, $. et al416617 ) Trainin! +o(rse /or T-F'.")ford ")ford Qni#ersity $ress. Little, A. 416IB7. $op and rock music in the ESL classroom. TESL Talk, 10 407, 05!00.1 69
Malaysian $rimary Syllabus ;SS< Syllabus 'urriculum Specifications Medina, SuFanne L, The Effect of Music on Second Language Pocabulary &c*uisition, C(ational (etwork for Early Language Learning-, Pol 1!B, 166B. Murphy, T 416637, The 8iscourse "p $op Songs, TES"L Wuarterly 31.407, LL5! LL0. (uttall, '.416I37 Teachin! 7ea"in! S$ills in a Forei!n 'an!(a!e. ")ford @einemann %nternational. Showalter, E. 435537. Teachin! 'iterat(re. ")ford Blakewell $ublishing. Tomlinson, '.M. and Brown, '.L.435537 -ssentials o/ +hil"rens 'iterat(re. Boston, QS& &llyn and Bacon.
We=#ite# http ==bussongs.com=songs=wheels!on!the!bus!go!round!and!round.php http ==www.eslbase.com=articles=songs http ==digitaldreamdoor.com=pages=bestJballadsddd.html http ==www.kidsmusictown.com= http ==songsandpoetryforesl.weebly.com http ==www.englishclub.com=teaching!tips=music!classroom.htm http ==www.teaching#illage.org=3515=5B=30=teaching!young!learners!with!songs! by!matt!richelson=
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http ==www3.#obs.at=ludescher=9rammar=teachingJgrammarJthroughJsongsJa.ht m http ==www.usingenglish.com=articles=using!songs!with!young!learners.html
TOPIC /9
PRINCIPLES OF SELECTION AN. A.APTATION OF POEMS
/.0 SYNOPSIS Topic 0B highlights on the principles of selection and adaptation of poems. This session will focus on the principles of selection of poems for young learners by looking at the purposes for using poems in the ESL classroom, the principles of poem selection and the techni*ues of using poems in the classroom. %t will also highlight on the adaptation of poems for the language classroom. 71
/.1 LEARNING OUTCOMES By the end of Topic 0B, you will be able to identify the principles of selection and adaptation of poems for use in the primary ESL classroom :ustify choice of poem selection using the criteria of te)t selection adapt and :ustify poems collected using the principles of te)t simplification /.2 FRAMEWORK OF TOPICS $"EMS
Selection
&daptation
$urposes CONTENT
'riteria of Te)t Selection
Techni*ues
CONTENT TOPIC FOUR (3 HOURS)
Students should be e)posed to different types of poetry in the language classroom. This e)posure will enrichen their knowledge and e)perience of the target language as it e)poses students to authentic language use. Through poetry, students are also e)posed to a form of language that can pro#ide new insights through imaginati#e and beautiful e)pressi#e language. /.SELECTION OF POEMS FOR YOUNG LEARNERS 72
The following section will focus on purposes of using poems in the classrooms, the criteria of te)t selection and techni*ues or acti#ities that could be used in using poems in the language classroom for young learners, including learner le#els and cultural considerations. /.-.1 Pur$'#e# *'r U#in( P'etr" in t e Lan(ua(e C!a##r''%

2hy do teachers use poems in the classroom+ List at least G reasons. 2hat are the ad#antages of using poems in the teaching and learning of English classroom+ List at least G ad#antages.
$oems can be used for a number of purposes and there are many reasons why poems are used in the classroom. $oems can help young learners impro#e their listening skills and pronunciation, therefore potentially helping them to impro#e their speaking skills. $oems can also be useful tools in the learning of #ocabulary, sentence structures, and sentence patterns. %n selecting poems, you should consider your students- potential de#elopment of the following areas $ersonal 8e#elopment &esthetic 8e#elopment 'ultural 8e#elopment Language Learning 8e#elopment Moral Palues 8e#elopment
There are many reasons for teaching and using poetry in ESL language classroom. Some of the key reasons include the following
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poem pro#ides en:oyment ? some poems are amusing and entertaining the reading and recitation of poems helps to de#elop confidence in using English reciting poetry encourages the use of correct stress and intonation in English speech poems help to de#elop interest in words and word usage in new ways to achie#e certain effects poems helps to introduce new #ocabulary and word order poems present the use of ordinary words in new ways helps to sharpen pupils- senses and appreciation of language the rhythm and repetition in poems helps pupils to remember and memorise them easily poems help to e)pand students- knowledge about the world poems help students to identify with people and situations poems e)press moods familiar to pupils poems gi#e insights into pupils and their feelings
()"a%te" /ro 6ario, '.,.(8989).6ays o/ Teachin! .ri ary -n!lish. 'on"on an" 4asin!sto$e* MacMillan)
/.-.2 Criteria *'r P'etr" Se!e&ti'n
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2hich poetry genre4s7 would attract young learners+ 2hat topic would interest young learners+ List at least G topics.
/.-.2.1
Learner Le,e!#
Learner le#els is the most important criteria that must be considered in the selection of a teaching learning material, in this case poems. Learner le#els is also an important consideration in designing teaching learning acti#ities. Much of this ha#e been elaborated earlier in the section <eadibility of Te)t. %n selecting poems, a teacher needs to select poems that suit their students- le#el in terms of te)t difficulty and language comple)ity 4#ocabulary, structure7. The most basic childrenDs poetry can sometimes too difficult for students in the rural areas. @ence, they might need to be adapted. /.-.2.2 Cu!tura! C'n#i)erati'n#
$oems reflect culture and by using these poems can gi#e your students the opportunity to ac*uire a better understanding of the culture of the target language. %n choosing poems, you ha#e to consider the following factors 'ultural Biasness Sensiti#ity to the impact of culturally!induced beha#iour >amiliarity to learners- background knowledge The use words or e)pressions which are percei#ed as inappropriate, offensi#e or #ulgar in the conte)t of the students The poems must present the world through a child-s perspecti#e and focuses on li#es and acti#ities as well as on acti#ities to which the child can relate. The e)pression of the ideas and feelings, howe#er, must be uni*ue, often causing the student to percei#e ordinary things in new ways. The poem needs to appropriate to the e)periences of a child and does not preach to them. %f you decide that the 75
poetry is well selected, consider the illustrations and the appearance of the book. Beautiful illustrations do not ensure a good collection of poems within the co#ers. /.-.2.Stu)ent#0 Intere#t
/oung children prefer narrati#e poems o#er lyric poems as compared to free #erse and haiku. They also like humorous poems, poems about animals, and poems about en:oyable familiar e)periences. Limericks are children-s fa#oured form. They also prefer poems that ha#e pronounced sound patterns of all kinds, but especially en:oy poems that rhyme. 'hildren prefer poems with regular, distincti#e beats 4rhythm7. 9enerally, the elements of imagery and figurati#e language are not well recei#ed by young learners because it is not easy to understand poems figurati#e language.
(So(rce* T(nnell 5 3acobs, 8999)
/.-.2./
Ot er C'n#i)erati'n#
There are different types and genres of poems you can choose from for use in the language classroom. %n selecting poems for your students, the following factors could also be useful for consideration rhyme, humorous narrati#e, and content based on familiar e)periences enthusiasm declines as children get older fa#our contemporary o#er traditional poems use of minimal comple) imagery and subtle emotion
Some other criteria that must also be considered when selecting the poems are 76
poems that are li#ely, with e)citing meters and rhythms, are most likely to appeal to young children. poems for young children should emphasiFe the sounds of language and encourage play with words. sharply cut #isual images and words used in fresh no#el manners allow children to e)pand their imaginations and see or hear the world in a new way.
poems for young children should tell simple stories and introduce stirring scenes of action. the poems selected should not ha#e been written down to childrenDs supposed le#el. the most effecti#e poems allow children to interpret, to feel, and to put themsel#es into the poems. They encourage children to e)tend comparisons, images, and findings.
the sub:ect matter should delight children, say something to them, enhance their egos, strike happy recollections, tickle their funny bones, or encourage them to e)plore.
poems should be good enough to stand up under repeated readings.

(SO27+- * htt%*::ho e%a!es.st artin.e"(:/ac<sta//:belin"a:%oetry.ht l)
(uttal 416I3 3G7 outlines a list of criteria as guidelines for selecting a te)t for classroom use. These are the readability of te)t the suitability of content the e)ploitability of the authentic te)t
The abo#e selection criteria are discussed in the following sections.
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A.
Rea)a=i!it" '* TeCt
<eadability means that the te)t should be at the right le#el. 2hen we try to find a readable te)t, we ha#e to assess the le#el of its structural and le)ical difficulty. Still, we should not forget that the students can deal with more difficult te)ts, pro#ided the task is not too difficult 4(uttal, 16I37. <eadability is a measure of the comprehensibility of written te)t. %n other words, it is the combination of le)ical 4i.e. #ocabulary7 and structural difficulty found in a te)t. There are some measures on readability that you can use to find out the difficulty le#el of the te)t for e)amples the SMO; in"e1, the F7C rea"ability esti ate and +loDe Test 4(uttal,16I37. %n terms of readability of te)t, poems chosen should be at the right le#el of difficulty for your students. Therefore, select the ones that are appropriate at your students- le#el of proficiency in terms of sentence length, word length within sentences and comple)ity of sentence structure. Sometimes, presentation factors unrelated to the language of the te)t also affect readability for e)ample choice of te)t siFe, layout, illustrations and colours. The Table below shows three poems of three le#els of difficulty and an analysis based on the criteria of te)t selection
1. SIMPLE &pples, $eaches &pples, peaches, $ears, plums, Tell me when your Birthday comes
2. MORE .IFFICULT Sing /our 2ay @ome Sing your way home &t the close of the day. Sing your way home 8ri#e the shadows away. 78
-. MOST .IFFICULT 8ecember Lea#es The fallen lea#es are cornflakes That fills the lawn-s wide dish, &t night and noon
The wind-s a spoon Smile e#ery mile, That stirs them with as >or where#er you roam wish. %t will brighten your road, The sky-s sil#er sifter %t will lighten your load, &!sifting white and slow %f you sing your way That gently shakes home. "n crisp brown flakes The sugar known as snow
Ver#e 1 simple and short theme is easy few syllables repetition learners can say it o#er and o#er again, in a circle game.
Ver#e 2 longer lines more comple) ideas imagery is easy to grasp rhythm helps learners learn it
Ver#e ,8ecember Lea#es. is about the same length as ,Sing /our 2ay @ome. metaphors are more comple) imagery demands more of the reader a poem by literary definition
(So(rce* .innell,;.S. 5 Fo(ntas, A.+. (200E).Sin! a son! o/ .oetry* ) Teachin! 7eso(rces /or .honics, 6or" St("y, an" Fl(ency.2S) * ,eine ann).
&#oid choosing poems which are too long and in#ol#ed. 8escripti#e poems should be reser#ed for ad#anced students in the upper primary classes. 'hoose poems which are short because children, the younger they are, ha#e #ery short attention span. The poems also need to ha#e a clear message depending on the maturity le#el of rhe students. Students need to ha#e the maturity of thought in order to understand more sophisticated themes. &#oid choosing poems with words outside the e)perience of your students. %f you must choose a poem from distant cultures, then you must a"a%t it to the needs of your students.
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9.
Suita=i!it" '* C'ntent
Suitability of content means that the te)t should be interesting and informati#e. The students- preferences should not be neglected and a sur#ey of their tastes might help the teacher *uite a lot 4(uttal, 16I37. Students- interest is considered the first re*uirement you should take into consideration in poem selection. This can be de#eloped through a regular and #aried e)posure to poetry, thus creating and sustaining students- interest in this area. P'e%# # 'u!) =e &are*u!!" & '#en. T e" %u#t a,e #'%e a$$ea! an) =e intere#tin( t' rea). /ou can help students to appreciate and understand poems better by pro#iding illustrations #ia drawing diagrams or ha#ing collections of pictures which help them to #isualiFe the content of the poems more meaningfully. The poem should be of interest to your students and perhaps amuse and entertain them 42ario, 16I67. Below is an e)ample of a poem that your students might find interesting
I Ta!"#t $% Cat T& C'ea( $% R&&) A ta(!ht y cat to clean y roo , to (se a b(c$et, br(sh an" broo , to "(st y cloc$ an" %ict(re /ra es, an" %ic$ (% all y toys an" !a es. ,e %(ts y %ants an" shirts away, an" a$es y be", an" A wo(l" say it see s to e itFs only /air he %(ts away y (n"erwear. An /act, A thin$ heFs !ot it a"e. AF not as ha%%y with o(r tra"e. ,e ay %ic$ (% y shoes an" soc$s, b(t A clean o(t his litterbo1. 80
The poem you choose must be relevant to the conte)t in which students are familiar with and meet their needs and hopes. %t should not o#erstretch studentsimagination. %t should be related to your students- e)perience, or be within their reach 42ario, 16I67. Look at this poem. %s it rele#ant to your students+ *#at +&!', %&! 'i-e t& .e/ A" li$e to be a /ar er !rowin! aiDe an" wheat. A" li$e to be a other an" coo$ !oo" thin!s to eat. A" li$e to be sho%$ee%er with a lot o/ thin!s to sell. A" li$e to be a chil"rens n(rse an" a$e sic$ chil"ren well. A" li$e to be a sol"ier an" learn to arch an" shoot A" li$e to be a tailor an" sew a "ress or s(it. A" li$e to be a %olice an catchin! thieves at ni!ht. A" li$e to be a teacher an" show to yo( how to rea" an" write. C. EC$!'ita=i!it" '* t e Aut enti& Materia!
E)ploitability means that the te)t should facilitate the de#elopment of reading skills in order to help the students become competent and independent readers 4(uttal, 16I37. & good selection of te)t is the one you can e)ploit in your teaching. %n selecting poems, you are asked to use your own :udgement on making the best choice of poems for yo(r st("ents. 2hen you e)ploit poem, you make use of it to de#elop your students- competence in achie#ing their learning outcomes.
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The poem chosen should ha#e a strong rhythm and also contain some re%etition 42ario, 16I67. 'an you notice these two features in the poem that follows+ *e01e 2!3t .ee( t& Nair&.i 6eve G(st been to Hairobi. Tell (s what yo(ve seen. 4icycles an" trains, +ars an" aero%lanes. 6eve G(st been to Hairobi. Tell (s what yo(ve seen. .eo%le stan"in!, %eo%le wal$in!. .eo%le stan"in!, %eo%le tal$in!0 .eo%le "oin! everythin!0 6eve G(st been to Hairobi. Tell (s what yo(ve seen. ,i!h b(il"in!s, cloc$ towers, Trees, !ar"ens an" /lowers. The poem chosen should tell a story and possibly be suitable for acting 42ario, 16I67. Look at this poem. 2hat story does it tell+ %s it suitable for acting+ *#at +&!', %&! 'i-e t& .!%/ A li$e to b(y a bicycle )n" ri"e alon! the roa"s. A" li$e to b(y a "on$ey To carry heavy loa"s. A" li$e to b(y a blan$et )n" %(t it on y be". 4(t Ave only !ot /ive %ence %iece So All b(y a loa/ o/ brea"0 A" li$e to b(y a %retty "ress )n" !ive it to y other. A" li$e to b(y a ra"io )n" !ive it to y brother. A" li$e to b(y a new scar/ )n" tie it aro(n" y hea". 4(t Ave only !ot ten %ence %iece So All b(y a %en instea"0
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/.-.- Te& ni3ue# in U#in( P'e%# in t e C!a##r''% The following are some techni*ues you can employ in the language classroom using poetry i. Marching to <hymes ii. marching around the room while chanting a poem will help students feel the rhythm. Listening to <hymes ha#e students clap or snap their fingers when they come to a rhyming word. They can also say it softer 4or louder7or mouth the word without making a sound. iii. <hyming 'loFe i#. read poems, asking students to :oin in only on the rhyming words. $ut highlighter tape on the rhyming words. $oem $ictures after reading a poem aloud at different times of the day, ha#e students make pictures to go with it and display them with the poem. 8uplicate indi#idual copies of a simple poem and ask each student to illustrate it. #. 2ord Endings write the poem in large print on a chart or on strips for a pocket chart. &fter many readings of a poem on a large chart, help students notice words that rhyme and specific #ocabulary. They can use a masking card or highlighter tape to mark these words. #i. $oem $erformances students can perform the poems after they learn them, sometimes adding sound effects with rhythm instruments such as sticks and drums or by clapping and snapping their fingers #ii. $oetry $lay
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lead students in saying their fa#ourite poems while they line up, as they walk through an area in which their talking will not disturb other classes.
#iii.
>inger poems and &ction $oems make finger plays from poems. 8o poems with motions in in#ol#ing the entire body.
i).
$oem $osters use art materials4coloured and=or te)tured paper, pens, crayons, paints7 to illustrate poems on charts for the whole group to en:oy, or indi#idually in personal poetry books.
).
$oem $uFFles ha#e the students cut a poem into strips, mi) them up, order them, and glue them on paper in the correct order. Then ha#e them use art materials to illustrate the te)t. /ou can create a simple template to photocopy for many different poems.
)i.
$oetry and $rose take a poem and create a Cprose- #ersion of it. $lace the two #ersions of the story beside each other so that the children can see and talk about differences in language, form, punctuation, mood etc.
)ii.
2ord Match place one line of apoem in the pocket chart and ha#e students rebuild the line by matching indi#idual words under the line. (So(rce* .innell,;.S. 5 Fo(ntas, A.+. 200E).
/.-.-.1 Ti$# 'n Carr"in( Out A&ti,itie# U#in( P'etr"+ Below are some tips on how to successfully carry out the abo#e poems acti#ities in I.B.B i. <eading $oetry &loud to 'hildren
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The most important rule to keep in mind is that poetry should be read for its meaning. Stress the meaning elements of the poem :ust as you do when reading prose. "ften, the words in poetry are phrased in such a way that you must continue past the end of the line before pausing. %n other words, the breaks must be determined by the meaning units of the poem, not by the lines.
The first rule is that as a reader, you should not o#eremphasiFe the beat of the poem. 8oing so results in an annoying singsong effect. The natural rhythm of the poem will be felt in a more interesting way if you a#oid an unnatural, meaningless reading and let the poetic language pro#ide the rhythm.
$oetry should be enunciated clearly. Each sound and each syllable of a poem are important and must be heard to be appreciated. This often means that you will need to slow down your normal reading pace to gi#e full #alue to each sound.
$oetry needs to be performed and dramatiFed. Take some chances and try out different effects 4using different #oices, singing, shouting, whispering, pausing dramatically, and so on7 as you read poems aloud. /our #oice is a powerful tool. /ou may change it from louder to softer to only a whisperO you may start at a deep, low pitch and rise to a medium and e#entually high pitchO you may speak #ery *uickly in a clipped fashion and then slow down and drawl out the words.
$oems may need to be read aloud a number of times because their many meanings may be percei#ed only after the literal sense is known. &lso, fa#ourite poems can be en:oyed again and again, as you and your students sa#or one more reading. &nother way to pro#ide students with opportunities to listen to poems is by recording audiotapes of poems for the listening center and making them a#ailable along with the poem in print, on a chart or in a book for the student to listen to and read.
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'ommercially made tapes with popular poets reading their works, accompanied by music, are a#ailable and are *uite popular with children. &fter reading a poem aloud, some form of response is usually en:oyed. Sometimes the response students ha#e to a poem is simply the desire to hear it again. "ther times, students need :ust a few moments to reflect silently on the poem. Some poems warrant discussion, and students can take the opportunity to tell how the poem made them feel or what it made think about. ii. 'horal $oetry
'horal $oetry is another techni*ue you can employ in your language classroom. The following are some tips on the arrangement on how you can add #ariety to this acti#ity %n unison choral speaking, the students learn the poem and recite it together as a group. Two!part or three!part choral poetry is usually based on arranging students into #oice types 4for e)ample, high, medium, and low7 to achie#e different effects and by selecting lines of the poem for each group to recite or read. Solo #oices can be added to either of these presentations and are sometimes used for asking a *uestion or making an e)clamation. Some poems lend themsel#es to cumulati#e build!up presentations. & cumulati#e build!up is affected by ha#ing, for e)ample, only two #oices say the first line, and then two more :oin in on the second, and then two more, gradually building to a crescendo until the entire class says the last line or stanFa. $oems can be presented by simultaneous recitation, which forms a presentation similar to a musical round. %n this case, group one begins the poem and recites it all the way through. 2hen group one begins the third line, for e)ample, then group two starts the first line, and the two groups
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recite simultaneously until the end. "ther groups can, of course, be added. $oetry selected and arranged for dramatic choral readings on a particular theme infuses an interesting #ariation into choral poetry. The poems can be read aloud by two readers at once, one reading the left half of the page and one reading the right half. &t times, the readers read certain line simultaneously. $airs of students may each take a different poem from the collection for presentation. iii. Learning to 2rite $oetry
&fter teaching your students about a kind of poetry, work with them during the writing process on de#eloping moti#ations. Let them begin by sharing ideas. @a#e students compile personal and class anthologies of their own poems or their fa#ourite poems. 8esign bulletin boards with poetry displays of students- own poems as well as copies of poems by fa#ourite poets. Let students rework a narrati#e poem into a different genre, such as a newspaper article or a letter. %n turn, students may attempt the re#erse! taking a newspaper article and putting it to #erse. Suggest to students that they design posters, indi#idually or in groups, to illustrate a fa#ourite poem. $osters are then displayed around the school for a few weeks. Encourage students to model the works of professional poets by attempting imitation of a whole poem or of specific techni*ues. <ead aloud many poems of one poetic form then analyFe the form with the students to re#eal the characteristics of its structure. Wuatrains, cin*uanis, haiku, concrete poems, and limericks can all be used as models with students once they ha#e an appreciation for poetry and for the specific poetic form. (So(rce* To linson, T. M. 5 4rown, +. '. (2002)) 87
/./
A.APTATION OF SONGS The following section will focus on factors to consider when adapting
songs for use in the language classroom.

Sometimes we find oursel#es in a position whereby we need to adapt some of the songs we would like use. List at least G reasons why we might need to adapt some of the songs.
/ou may ha#e to adapt, simplify or reduce most carefully some of the poems chosen, to meet to the needs of your students. The following are factors of consideration in adapting songs Le)ical %tems Sentence Structure 'ontent
More practice...
Practice 1
G.
%dentify the poems below according to their genres

Alphabet * %imerick * +in,uain * Acrostic * -ma"ery * .aiku
) yo(n! !irl was wal$in! in the rain. 4(t her ( brella "i"nFt o%en. +o(l"nFt r(n, co(l"nFt h(rry, &resse" in new shoes, -ntere" a ho(se /(ll o/ chocolates. Fo(n" all her /rien"s enGoyin! the . +ris% an" colo(r/(l )"orable an" cr(nchy Hice an" tasty &elicio(s an" te %tin! C( y an" best
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i. JJJJJJJJJJJJJJJJJJJJJJJ
ii. JJJJJJJJJJJJJJJJJJJJJJJ
F.en!(insF .en!(ins 4lac$, white Swi in!, G( %in!, /ishin! )ll the %en!(ins G( % "own into the water. Tall %en!(ins
by ;enneth Miller
AF the /airy o/ y !ar"en My white win!s an" !ol"en crown a$e e char in!. A can weave a!ic with y a!ic wan". AF the /airy o/ y !ar"en.
iii, JJJJJJJJJJJJJJJJJJJJJJJJ
FHi!ht an" &ayF The stars are shinin! they will shi er an" theyFll !low (ntil the s(n shines by Mattie M.
i#. JJJJJJJJJJJJJJJJJJJJJJJ
IThere was an ol" an /ro .er( 6ho "rea e" he was eatin! his shoe ,e awo$e in the ni!ht 6ith a terrible /ri!ht To "iscover it was totally tr(e.I
#. JJJJJJJJJJJJJJJJJJJJJJJJJ
#i. JJJJJJJJJJJJJJJJJJJJJJJJJ
1.
Qsing one of the poems in the pre#ious task, decide on the class you are going to use for your language classroom. i. Think of a few acti#ities to carry out based on the poem. ii. Austify your choice in terms of ! the selection criteria ! the teaching learning purposes ! your learners- le#el ! cultural considerations
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Practice #
NT e 9r'4en;Le((B) ManN % saw the other day when % went shopping in the store & man % hadnDt e#er, e#er seen in there before, & man whose leg was broken and who leaned upon a crutch! % asked him #ery kindly if it hurt him #ery much. N(ot at allMN said the broken!leggDd man. % ran around behind him for % thought that % would see The broken leg all bandaged up and bent back at the kneeO But % didnDt see the leg at all, there wasnDt any there, So % asked him #ery kindly if he had it hid somewhere. N(ot at allMN said the broken!leggDd man. NThen where,N % asked him, Nis it+ 8id a tiger bite it off+ "r did you get your foot wet when you had a nasty cough+ 8id someone :ump down on your leg when it was #ery new+ "r did you simply cut it off because you wanted to+N N(ot at allMN said the broken!leggDd man. N2hat was it then+N % asked him, and this is what he said N% crossed a busy crossing when the traffic light was redO & big black car came whiFFing by and knocked me off my feet.N N"f course you looked both ways,N % said, Nbefore you crossed the street.N N(ot at allMN said the broken!leggDd man. NThey rushed me to the hospital right *uickly, Nhe went on, N&nd when % woke in nice white sheets % saw my leg was goneO ThatDs why you see me walking now on nothing but a crutch.N N%Dm glad,N said %, Nyou told me, and % thank you #ery muchMN N(ot at allMN said the broken!leggDd man. by 3ohn Mac$ey Shaw
1. Suggest T@<EE suitable acti#ities and describe in simple teaching steps how you would carry out the acti#ities using the poem. 3. Austify your choice of selection of both the poems and the acti#ities based on the following ! your learners- le#el ! the selection criteria 90
! !
the teaching learning purposes cultural considerations
Practice 3
.i#&u## an) # are "'ur ,ie2# 1. Browse through the internet and select one poem for each of the following groups of students Students- background & classroom of /ear B low proficiency students in the rural area. & classroom of /ear G high proficiency students in a SBT in ;uala Lumpur.
3. Suggest T@<EE suitable acti#ities and describe in simple teaching steps how you would carry out the acti#ities using the poem. B. Austify your choice of selection of both the poems and the acti#ities based on the following ! your learners- le#el ! the selection criteria ! the teaching learning purposes ! cultural considerations
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Re*eren&e# 'o), '.4355I7. Teachin! 'an!(a!e )rts* ) St("ent-centere" +lassroo , 41thed7. QS& &llyn E Bacon. Malaysian $rimary Syllabus ;SS< Syllabus 'urriculum Specifications (uttal, '. 16I3. Teachin! 7ea"in! s$ills in a /orei!n lan!(a!e . ")ford @einemann $innell, 9.S. E >ountas, %.'. 435507.Sing a song of $oetry & teaching <esources for $honics, 2ord Study, and >luency.QS& @einemann. Showalter, E. 435537. Teachin! 'iterat(re. ")ford Blakewell $ublishing. 2ario, L.@.416I67.6ays o/ Teachin! .ri ary -n!lish. London and Basingstoke MacMillan $ublishers Tomlinson, T. M. E Brown, '. L. -ssentials o/ +hil"rens 'iterat(re Brown 435537 Boston &llyn and Bacon Tunnell, M. "., E Aacobs, A. S. 416667, 'hildren-s Literature, Briefly 3 nd Edition $rentice @all
We=#ite#+ http ==www.buFFle.com=articles=types!of!poems!for!kids.html http ==www.gigglepoetry.com=poetryclass=limerickcontesthelp.html http ==homepages.stmartin.edu=facJstaff=belinda=poetry.html http ==www.teachingideas.co.uk=english=limerick.htm http ==#olweb.utk.edu=Schools=bedford=harrisms=limerick.htm
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TOPIC <
ACTIVITIES AN. MATERIALS TO ENCOURAGE AEST5ETIC .EVELOPMENT T5ROUG5 SONGS AN. POETRY
<.0 SYNOPSIS Topic G This topic intends to help course participants to select materials and design acti#ities to encourage aesthetic de#elopment through songs and poetry . <.1 LEARNING OUTCOMES By the end of Topic G, you will be able to To select and create acti#ities and materials for the primary ESL classroom to suit learning outcomes To adapt acti#ities and materials for different le#els To select materials and conduct acti#ities to encourage reader response
<.2 FRAMEWORK OF TOPICS
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CONTENT <.2 A&ti,itie# an) %ateria!# t' en&'ura(e ae#t eti& )e,e!'$%ent 6- 5'ur#8 G.3.1 Se!e&tin( an) Creatin( A&ti,itie# an) Materia!# t' Suit Learnin( Out&'%e# /oung learners will en:oy singing a song or reciting a poem which they could easily associate the content closely to their e)isting world knowledge, culture and tradition. Qsing songs and poetry to achie#e the learning outcomes prescribed in the ;BS< and ;SS< syllabus for Malaysian primary schools re*uires the teachers to select appropriate materials and create rele#ant acti#ities. &esthetic #alues and fun element in language learning e)perience can be achie#ed if teachers plan their teaching points stage by stage to suit specific learning outcomes. To do this, teachers need to highlight the aesthetic elements in songs or poems and take into considerations criteria such as &re the materials suitable and appropriate in e#ery possible way+ 8o they possess any aesthetic #alues+ %f yes, what , type and le#el of aesthetics+ %f no, how to adapt the material to add this #alue+ @ow does a teacher help instil and de#elop aesthetics among students+ @ow to create acti#ities in the lesson plan that connect and enhance this+
%magine if you plan to use a poem that enables your /ear 3 students to achie#e the following learning outcomes 1.1.B &ble to listen to, say aloud and recite rhymes or sing songs 3.1.1 &ble to recognise and articulate initial, medial and the final sounds in single syllable words within gi#en conte)t 3.1.3 &ble to blend phonemes into recogniFable words and read aloud 2hat you could do is to design an acti#ity that re*uires the students to read and en:oy doing the designed tasks and at the same time appreciate the poem that they read. Let-s ha#e a look at the e)ample below. 94
E)ample 1 Qsing a poem &cti#ity 'lass Le#el Theme >ocused Skill %ntegrated Skills <ole $lay /ear 3 Beginning and %ntermediate 2orld of Story Listening Speaking, <eading
%n the following e)ample, the basic idea of e)posing onomatopoeia is to gi#e children insights into themsel#es and imitate sounds familiar to them. Some students may be familiar with the sounds of fire crackles, water siFFles, crunching potato chips, tent poles cracking together, smoothing sleeping bag and cricket chirp. These sounds might e#oke their inner feelings that camping is not a creepy moment or a terrifying e#ent but they get to listen to different sounds in the surrounding at night. Ca%$in( 'rackM 'rackM The fire crackles under the stars. SiFFleM SiFFleM The water siFFles abo#e the fire. 'runchM 'runchM The campers crunching on potato chips. 'lickM 'lackM 'lickM 'lackM The tent poles clicking and clacking together. <ustleM <ustleM &s we prepare our sleeping bags to go to sleep. 'hirpM 'hirpM The crickets say, ,good!night.. By (atasha (iemi
http ==www.mywordwiFard.com=onomatopoeia!poems.html
To promote appreciation of literariness of a poem does not mean the poem chosen has to be an established one. & simple start is students are put into groups. The teacher distributes the following poem to each group and asks them 95
to read the poem for 15 minutes focusing on the literary element which is onomatopoeia. 'oncurrently, the teacher could emphasiFe the initial and the final sound of =k= in single syllable words such as crac$, cr(nch, clic$, and clac$ as the students recite the poem. Learning sounds performed by specific #erbs in a conte)t, for e)ample during camping, enables the students to relate their e)isting knowledge of sounds. %n fact, the teacher could ask students to come up with their own other familiar sounds in the form of one syllable word too. <eading the poem at this stage gi#es the opportunity for the students to realise the first two learning ob:ecti#es. &fter this acti#ity is completed, each group is re*uired to role!play the poem using precise #oice pro:ection and appropriate style. <ole play gets the students to blend phonemes into recogniFable words and read aloud the poem thus internalise the input on onomatopoeia e)posed to them in the earlier stage. This acti#ity subse*uently leads the students to accomplish the third learning ob:ecti#e. So long as a teacher identifies certain aesthetic features of a poem which match with areas specified in the curriculum specification, then the poem could be used as the basis for a lesson which e#entually increases students- awareness of these features. %n short, selection of rele#ant materials and appropriate acti#ities designed by the teacher to suit learning outcomes not only enhances studentsaesthetic de#elopment but it is also a way to impro#e language knowledge.
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Tut'ria! Ta#4 E)cercise 1 <ead the following song and suggest one acti#ity to enable young learners de#elop their aesthetic knowledge based on one learning outcome from the ;BS< or ;SS< curriculum specification. Y'u are M" Sun# ine /ou are my sunshine My only sunshine /ou make me happy 2hen skies are grey /ouDll ne#er know dear @ow much % lo#e you $lease donDt take my sunshine away. The other night, dear &s % lay sleeping % dreamed % held you in my arms. 2hen % awoke, dear % was mistaken &nd % hung my head and criedO
Lyrics and Music by Aimmy 8a#is and 'harles Mitchell
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E)cercise 3 Based on the learning standards from ;SS< /ear 3 i. 8esign one acti#ity to teach this song ii. 9et the students to change the lyrics below to create a new song from the old tune of C%-m a Little Teapot-. IB% a Litt!e Teapot %Dm a little teapot, short and stout Here is my handle, here is my spout When I get all steamed up, hear me shout Just tip me over and pour me out! I'm a clever teapot, yes it's true Here's an example of what I can do I can change my handle to my spout Just tip me over and pour me out.
$oem by Betty @arris
G.3.3 A)a$tin( A&ti,itie# an) Materia!# *'r .i**erent Le,e!# Students- language proficiency is one of the principles that a teacher has to take into account when it comes to selecting materials to teach songs and poetry for young learners. %t is crucial for the teacher to adapt e)isting poems or songs and design acti#ities suitable for mi)ed abilities class for aesthetic de#elopment. Qsing e)isting materials can sa#e time, effort and e)pense in ac*uiring language materials or materials for teaching or learning. @owe#er, adaptation of materials has to be done meticulously so that beginners do not feel awkward to read different te)ts compared to intermediate or ad#anced students. There is also a danger that they will instantly realise they ha#e been labelled as weak or low proficiency students. %n the case of de#eloping aesthetic #alues among beginners, labelling affects their moti#ation to appreciate songs or poems gi#en to them. Therefore, adapting materials should not be neglected by any teacher 98
in ensuring that none of the students in the class feels neglected. @ere are e)amples of adapting a poem for a class with mi)ed abilities.
Fu#t t in4 a='ut it /our low proficiency students may not realise that hill!Aill, down!crown and water!after are actually rhyme. @ow would you adopt this rhyme to encourage its aesthetic #alue among this group of students+
&s a starting point for the class, the teacher could pre!teach difficult #ocabulary such as the words Cwent up-, Cfell down-, Ctumbling- and Ccrown- to the low proficiency students. Then, the teacher can ask the students to sing the rhyme and share their e)perience with their peers. %ntegrating speaking and listening skills or e#en three language skills concurrently adds elements for dicussion in which students could associate their newly ac*uired classroom e)perience to the world of knowledge. &s for the intermediate students, the teacher may use the following poem to challenge their e)isting knowledge.
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Fa&4 an) Fi!! Aack and Aill went up the hill To fetch a pail of water Aack fell down and broke his crown and Aill came tumbling after Qp Aack got and home did trot &s fast as he could caper 2ent to bed and bound his head 2ith #inegar and brown paper
The teacher now di#ides the students into small groups and includes the low proficiency students in the groups. 2ith the help of intermediate students , they now need to identify the se*uence of what actually happens to Aack by drawing the list of e#ent on a drawing block. &lternati#ely, the teacher may ask the whole class to copy down the first stanFa and change the nouns in the rhyme to produce a new or nonsense #ersion. <ewriting a new #ersion encourages students of any proficiency le#el to engage with the poem and respond to it personally without worrying about getting the Cright and sensical- meaning. @ere is an e)ample "riginal <hyme Aack and Aill went up the hill to fetch a pail of water Aack fell down and broke his crown and Aill came tumbling after (ew Persion Aenab and Ao:o went up the ;iliman:aro to fetch a kilo of laughter Aenab fell down and broke her crystal gown and Ao:o came tumbling after
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There are some key considerations for selecting literary te)ts before you could adapt a#ailable materials for different type of students. criteria, you may use the checklist below by LaFar, 9. 4166B7 To summarise the
C e&4!i#t *'r & ''#in( !iterar" teCt# TYPE OF COURSE Le#el of students Students- reasons for learning English ;ind of English re*uired Length=intensity of course TYPE OF STU.ENTS &ge %ntellectual maturity Emotional understanding %nterests=@obbies 'ultural background Linguistic proficiency Literary background OT5ER TEGT;RELATE. FACTORS &#ailability of te)ts Length of te)t E)ploitability >it with syllabus
Selection of task or suitable acti#ity to cater the needs of different le#els plays a ma:or role in ensuring that young learners en:oy and appreciate the aesthetic #alues of songs and poems. Teachers are encouraged to adapt and modify a#ailable materials to let the students see how poems and songs are structured and webbed together using literary and linguistic features.
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Tut'ria! Ta#4 E)ercise 1 Look at the following song. /ou plan to use ,@ere 2e 9o <ound the Mulberry Bush. tune to e)ploit specific language features. 2ith what le#el of students do you think it could be used+ 8ecide one literary feature in this song that can be e)ploited and design a suitable acti#ity for your students.
T i# I# T e Wa" This is the way we wash our face, 2ash our face, wash our face, This is the way we wash our face, "n a cold and frosty morning. This is the way we clean our hands, 'lean our hands, clean our hands,
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E)cercise 3 &dapt the poem C>i#e Little Ladybirds- to teach a group of beginners. $repare one pre!acti#ity, while!acti#ity and post!acti#ity based on the poem below.
Fi,e Litt!e La)"=ir)# >i#e little ladybirds, climbing on the door "ne flew away and then there were four. >our little ladybirds, sitting on a tree. "ne flew away and then there were three. Three little ladybirds, sitting on a shoe "ne flew away and then there were two. Two little ladybirds, looking for some fun "ne flew away and then there was one. "ne little ladybirds, hiding behind the sun "ne flew away and then there was none.
http ==www.kidsfront.com=rhymes=fi#eJlittleJladybirds.html
G.3.B A&ti,itie# an) Materia!# t' En&'ura(e Rea)er Re#$'n#e Songs and poetry guide readers to construct meaning based on their common daily e)periences. 'onstruction of meaning can be done by letting young learners respond to the te)t. To get learners #oice out their responses, a teacher can ask them to write down what they thought about the te)t and discuss this idea in the class. This perspecti#e is known as reader!response. %t #iews that readers are acti#ely engaged in the construction of meaning while reading a te)t. 'arter 4355L7 argues that ,there is no single Ccorrect- way of analyFing and interpreting the te)t, nor any single correct approach *. Thus, how young learners make meaning from their own e)periences with a te)t will make them e#entually appreciate the aesthetic #alues of songs and poetry. ;nowing how young learners respond is essential in using songs and poetry to encourage aesthetic de#elopment. $rimary school students in Malaysia normally 103
respond to literary te)ts whene#er they are engaged in acti#ities that in#ol#e *uestioning, making association, e)plaining and performing. This is because answering *uestions, gi#ing reasons and acting out the te)t gi#en become the springboard for the young learners to mo#e from understanding information in a te)t to appreciating and en:oying the content stated in the English language. <osenblatt 41660, as cited in 'o), 355I7 argues that children should take the aesthetic stance to en:oy and appreciate literary te)ts be it poetry, songs and e#en stories so that the importance of meaning and e)pressing feeling will not be reduced. Therefore, the role to allow students to construct the meanings and e)press their feelings precisely relies on the teachers. %f students fail to comprehend the content of a te)t, they will not be able to pro#ide necessary response no matter how much the teacher tries to e)plain the meaning of the songs or poems gi#en to them. @ere is an acti#ity to use with students when e)ploiting a poem to encourage reader response. <ead the poem below and do the following suggested acti#ities. I tau( t %" &at t' &!ean %" r''% % taught my cat to clean my room, to use a bucket, brush and broom, to dust my clock and picture frames, and pick up all my toys and games. @e puts my pants and shirts away, and makes my bed, and % would say
a. Sing with actions b. 8raw and colour the pictures c. 2rite a dialogue based on the poem d. 2rite your response for the following prompts 4personalised *uestions7 i. @ow would you feel if your pet could help you to clean your bedroom+ ii. @as anything like this e#er happened to you+ Tell about it. iii. 2hat else do you wish to happen in the poem+ 104
i#. 2hat would you do or say if you were the persona in the poem+ #. Tell anything you want about the poem. There are numerous songs and contemporary children-s poems to teach colours, manners, animals, sounds and almost any concept that we can incorporate in the aesthetic de#elopment. classroom. Music can change the learning atmosphere in a &ccording to @armer 4355L7, music can amuse and entertain
students as it ,...can make a satisfactory connection between the world of leisure and the world of learning in the classroom.. Music and poetry can be interwo#en in a lesson pro#ided that the teacher selects suitable acti#ities and marries it with language acti#ities to enhance a child-s inner de#elopment. The selected materials should be sufficient to co#er acti#ities that can be used to e#oke reader response when they work indi#idually, in pairs, in small groups and as a whole group. &esthetic 8e#elopment can be enhanced &. Through #arious kind of acti#ities Singing ? solo, duets, small groups, chorus Singing and Mo#ement= 8ancing ? simple solo mo#ements and gestures ? group mo#ements = marching =#ariety <ole!play ? drama, acting, miming $icturiFations ? drawing, painting, colouring 'artoon creations ! fa#ourite scene or an entire story @andworks ? using play!dough, recycle things 9ames ? simple in!door = out!door games Music ? adding = adapting= changing tunes %mpro#isation <eader-s Theater Make a puFFle depicting a scene or a character. 'reate a crossword puFFle based on the story. 'reate a scrapbook. 105
B. Through #arious language acti#ities 'ursi#e writing e)ercises 'haracter identifying 2ord = picture match <eading ? tone, #oice pro:ection, style Story!telling <etell a story. 2ords!linking =poem puFFles, :igsaw 2ord!choices ? ad:ecti#es eg. good, cle#er SummariFe song lyrics or a poem 2rite a re#iew. 2rite a letter to a character. Literature 'ircles 'ompare and contrast characters from two te)ts 'reate an alternate ending. <eader <esponse Aournal 'reate a book :acket. 'reate a poem about the te)t.
'. By Qnderstanding a 'hild-s %nner 8e#elopment E)pressions ! emotions $hysical beha#iour E Mannerism >eelings = moods %doliFing ? wanting to be the hero = superhero <ole!models ? teachers = others %nterpersonal E %ntrapersonal skills 'haracter formation E de#elopment
2hen songs and poems are properly introduced to young learners, it will ine#itably establish strong connections between en:oying literary style and responding to the te)t based on one-s world knowledge. The choice of te)ts and
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acti#ities is crucial to make the difference between passi#e reading and acti#e in#ol#ement with a literary te)t. (ow that you ha#e been gi#en the list of acti#ities to to encourage reader response and de#elop aesthetic #alues, try to do the e)ercises below.
Tut'ria! Ta#4 E)cercise 1 Look at the outer look of this shape poem. Suggest one suitable acti#ity to encourage the young learners to read and discuss the uni*ue characteristics of this poem as well as its impact to the them.
& #olcano. & huge rock, shooting la#a up into the airM E#eryone runs for co#er. Lots of thick, black smoke pours out of the top, gi#ing you a warning before the e)plosions start. (othing can stand in its way. Sometimes they don-t blow up for hundreds of years. Still thousands in the world but they don-t all work, some are e#en underwater.
S'ur&e+ tt$+HH222.%"2'r)2iIar).&'%H# a$e;$'e%#;*'r;4i)#. t%!
N'te+ 2hen students recite this poem and the teacher utilises the language content of the poem, it may e#oke the emotion or feelings hidden in this poem. 107
E)cercise 3 Select a nursery rhyme = song 'reate a hand!made puppet using recycle items to represent a character found in the rhyme. $resent to the class a brief reflection on your own emotional changes doing the puppet.
E)ercise B Select=adapt a song and a poem for any le#el. 'reate acti#ities based on the song and poem focusing on aesthetic de#elopment and reader response.
Surf the net. Search for more information on this topic.
Take a break and mo#e on to topic 1 when you are readyM
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Re*eren&e# +arter, -. (200.&. /iterature an( /anguage 'eaching. 1012!2002: 3 review. International Journal of Applied Linguistics, 17, 3!13. 'o), '. 4355I7. Teachin! 'an!(a!e )rts. & student!centred 'lassroom. 41th ed7. QS& &llyn E Bacon. @armer, A. 4355L7. The .ractice o/ -n!lish 'an!(a!e Teachin! . 40th ed7. Esse) $earson Education Ltd. We=#ite#+ http ==firstgradecce.blogspot.com=3511=5I=:ack!and!:ill.html http ==www.teachingenglish.org.uk=sites=teacheng=files=mi)edability.pdf http ==www.busyteacherscafe.com=literacy=readersJresponse.html http ==www.teslcanada:ournal.ca=inde).php=tesl=article=#iew>ile=1561=615 tt$+HHeC& an(e#.#tate.(',Hen(!i# tea& in(H*'ru%Har& i,e#H)'&#H0@;/>;-; =.$)*
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TOPIC 7
LANGUAGE .EVELOPMENT T5ROUG5 SONGS AN. POETRY
7.0 contribute to
S"n'$#i# +
This topic introduces to course participants how songs and poetry language de#elopment. 7.1 Learnin( 'ut&'%e# To select, adapt and create acti#ities and materials for use in the primary ESL classroom for language de#elopment ! listening, speaking, reading and writing through songs and poetry. To create acti#ities for the de#elopment of #ocabulary and grammar through songs and poetry. To adapt acti#ities and materials for different le#els.
7.2
Fra%e2'r4 '* T'$i&+ LANGUAGE .EVELOPMENT T5ROUG5 SONGS 110 AN. POETRY
Selecting, adapting and creating acti#ities and materials to suit learning outcomes
&dapting acti#ities and materials for different le#els.
Teach sound system, #ocabulary and grammar
7.2.1 Intr')u&ti'n 'hildren lo#e singing. %n fact, children grow up with songs and rhymes. They ha#e ac*uired their mother tongue or first language by listening and reacting to nursery rhymes spoken and acted by their parents. &ccording to Lo and Li 4166I7, songs are able to change the monotonous mood in the classand with the soothing effect of music, they pro#ide a comfortable class en#ironment for learning. Language teachers should therefore use songs and poetry as part of their teaching repertoire for language learning. 7.2.2 9ene*it# '* u#in( #'n(# an) $'etr" Songs and poetry can be used for a number of purposes and there are many reasons why songs and poetry can be considered #aluable pedagogical tools 4Murphy, T, 16637. The benefits can be summarised under two main categories Lin(ui#ti&+ X To enlarge the #ocabulary background of children X To de#elop pupilsD listening and speaking skills X To introduce and familiariFe children with the target language culture 111
X To impro#e childrenDs pronunciation X To teach #arious language functions X To recall grammatical points X To de#elop auditory discrimination A**e&ti,e+ X To add fun to learning X To moti#ate children to participate !! e#en shy ones X To help teachers get closer to their children X To stimulate childrenDs interest in the new language X To create a li#ely atmosphere in the language classroom Pery young learners, as early as two! year olds 4at times e#en younger than that7 can recognise and respond to certain rhymes or simple nursery songs through their repeated listening. The simpler the songs= rhymes and the beats are, the faster they are able to pick up the rhyme. That is why rhymes like Jone, two, three or Ja, b,c," are able to attact the toddlers. 2e can witness these toddlers humming the tune or e#en uttering bits and pieces of these rhymes. The repetition of these rhymes of course helps them to remember better. Pery simple gestures like clapping their hands or pointing their fingers to the nose also encourage their sense of timing. @owe#er, as they grow older they begin to lose interest in #ery simple forms of rhymes and would prefer more comple) ones. They also prefer other forms of input to increase their knowledge and sustain their interest to learn. 7.2.- Se!e&tin(: a)a$tin( an) &reatin( a&ti,itie# an) %ateria!# t' #uit !earnin( 'ut&'%e#
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'riteria for selection and creation of acti#ities and materials ha#e been discussed in depth in the pre#ious topics. &n important aspect would be that these acti#ities and materials are designed to suit the learning outcomes. %t is important that the teacher knows what the learning outcomes are to enable him= her to plan suitable acti#ities and materials for the class. Criteria *'r #e!e&ti'n '* #'n(# an) $'etr"+ Pocabulary within the le#el of the sudents- ability Should present some musical challenge <hythm should be straightforward and repetiti#e Topics should be within the e)periences of the students Should contain language compatible with that used in the classroom Should allow for dramatisation, role!play and other enrichment acti#ities
%f the teacher would like the students to learn a certain sound!system or pronunciation, the teacher may probably pick a simple song like the one below. &lthough the song may not con#ey any proper meaning, it does not matter as the intention of the teacher is only to teach pronunciation and sound!system.
A Ru% Su% Su% & <um Sum Sum & rum sum sum, & rum sum sum. 9uli guli guli guli guli rum sum sum. & rafi, a rafi 9uli guli guli guli guli rum sum sum.
Try this
>irst sing the song. 9i#e emphasis to the sound!system.
Then change the tune to some of your fa#ourite tune. Sing again. 113
%f the students are of the ages 11!13, communicati#e speaking acti#ities can be carried out. 'ommunicati#e speaking acti#ities re*uire careful planning. Before doing any producti#e work, gi#e students plenty of pre!reading acti#ities so that they are ade*uately prepared. &s a way into a poem, play some background music to create the atmosphere, show some pictures to introduce the topic, and then get students to think about their personal knowledge or e)perience related to this topic. They then talk about the poem, first with a partner and then in small groups, perhaps coming together as a class at the end to share ideas. 9i#e brief feedback on language used and note any language problems to be dealt with at a later date. $repare worksheets for pre!reading speaking acti#ities which might in#ol#e a *uiF, a *uestionnaire, sentence stems to be completed and discussed. The students might predict endings to #erses, the whole poem=song, or e#ents occurring after the end of the poem. Later, the students could talk about their personal response to the poem=song, discuss the characters and theme or debate the moral issues. %f youD#e e#er recited a nursery rhyme, played N%tsy!Bitsy SpiderN or sung N%f /ouDre @appy and /ou ;now %t,N youD#e been preparing the student for learning to read. >amiliar songs and poems can strengthen a child-s ability to hear the sounds of a language V a skill that will ser#e him well when he learns to connect sounds with letters 4phonics7 in school. Learning how to make music and keeping rhythm are important listening skills. These acti#ities teach children how to make sounds that are en:oyable and how to listen to them. 'reate a noise routine that can be choreographed into a children in#ent their own musical fa#orite song. Make it into a rhythmic pattern using claps, knocking, stomping and mouth noises. /ou can also help instruments by building ob:ects out of things like bo)es, strings, and pebble 114
shakers. @a#e the child play with all of the made!up instruments to e)plore the different sounds. (ursery rhymes are especially powerful, because they are so memorable. <esearch has found that children who are familiar with nursery rhymes often ha#e an easier time learning to read. when they enter school This is probably because rhyming helps them disco#er many common word patterns such as those in ?(ic$:stic$ or "own:crown. &nd the more familiar these patterns become in oral language, the more easily children will recogniFe them when they begin to encounter them in print.
Songs with rhyming lyrics are also terrific de#ices for teaching your child about the patterns of sounds. 'reate songs on the spur of the moment about whate#er you are doing. Try NThis is the way we wash our hands . . . N <emember that you donDt need to ha#e a good singing #oice. 'hildren will lo#e it because itDs fun. 'ombine rhyming with rhythmic clapping or mo#ements. Select rhymes that are especially helpful for an acti#e child who needs to in#ol#e his entire body in the acti#ity. Students can follow directions when you sing songs like NThe @okey $okeyN. This kind of play in#ol#es your childDs whole body in absorbing the sounds of speech, which may make it easier for him to connect to the mo#ement =motion with the words you say.
The @okey $okey /ou put your right hand in, /ou put your right hand out, /ou put your right hand in, &nd you shake it all about, /ou do the hokey pokey and you turn yourself around 115 That is what itDs all about.
7.-
A)a$tin( a&ti,itie# an) %ateria!# *'r )i**erent !e,e!#. /ou can help children learn English as a second language by adapting
your lessons to their needs and enthusiasm. Qse language suited to their age le#el and topics that interest them. %ncorporate listening and speaking with games, action and music. Teach reading and writing by using a #ariety of techni*ues and acti#ities.
7.-.1 Ora! 1 aura! #4i!!# Listening to songs and rhymes are a part of oral ? aural skills. Songs and rhymes that teach certain grammar skills should be taken into consideration during selection. >or e)ample, the rhyme C @ickory 8ickory 8ock- can be used to teach the Co- sounds such as "oc$, "own, cloc$ and o(se.
Students can also be trained to listen for specific purposes. >or e)ample, students can be trained to repeat letters and words to ensure correct pronunciation. %n the rhyme abo#e, words such as hic$ory, "ic$ory and "oc$ re*uire correct pronunciation as well as enunciation to enable the rhyme to produce the correct sound. The NAack and AillN nursery rhyme is a fun way for young children to learn phonetic awareness. >ocusing on the predominance of the letter NA,N the teacher can show children how to write and pronounce NA.. Teachers can also ask children to think of other words that begin with the NAN Aack and Aill sound 2ent up the hill To fetch a pail of water Aack fell down &nd broke his crown &nd Aill came tumbling after 116
&cti#ities such as sing alongs can help students to learn timing. Students will learn to sing on cue and learn to pause at appropriate :unctures. &s students sing along, it will increase their memory and they will remember the words that they ha#e said out loud. 'horal= 'horus = small groups singing will teach students about turn taking as well as tone and pitch. Students can be di#ided into groups and asked to sing the song or rhyme. >or e)ample, in the rhyme C@ickory 8ickory 8ock-, each group can sing one line of the rhyme. The students will learn to sing their line as per turn and be silent when it is the turn of the other group. Learning rhythm and rhyme is an important pre!reading skill, (ursery rhymes, including NAack and AillN offer children an entertaining way to e)plore rhyme schemes and rhythmic awareness. @a#e children sit in a circle with their hands at their knees. The teacher can recite NAack and AillN while children clap their knees to the beat. The children can then discuss the rhyming pairs within the nursery rhyme. @a#e children think of other words that fit the rhyme scheme. The students can also learn to use different tones and pitch when singing the song in a group. 9uided singing that makes use of lyrics and music can help the students to learn about melody and rhythm. Musical elements such as steady beat, rhythm, 117
melody, and tempo possess mathematical principles such as, se*uencing, counting, patterning, and one!to!one correspondence. &s such, students will be able to connect with numbers which will in turn help in their mathematic lessons. 8ramatiFation can also help in language de#elopment. Students can act out the song in order to better understand it. Early childhood learning is a time for whimsical e)ploration. Qsing nursery rhymes, such as NAack and Aill,N allows children the opportunity to e)plore language and themes in a way they will en:oy and remember.
7.-.2
Litera&" #4i!!#
There are #arious ways of using songs in the classroom. The le#el of the students, the interests and the age of the learners, the grammar point to be studied, and the song itself ha#e determinant roles on the procedure. &part from them, it mainly depends on the creati#ity of the teacher. Students will learn new #ocabulary through acti#ities such as word maFe, crossword puFFle and :umbled up words. The nursery rhyme CBaa baa Black Sheep- teaches the students new #ocabulary and this can be done through the usage of a crossword puFFle. Baa Baa Black sheep @a#e you any wool+ /es sir, /es sir, three bags full "ne for my master and one for the dame &nd one for the little boy 2ho cries down the laneM
Surf the net. Search for more information on this sub:ect matter. 118
9rammar can be taught through filling in the blanks or word scrabble acti#ities. >or e)ample, based on the rhyme CBaa Baa Black sheep-, *uestions such as Baa baa Black sheep, ha#e you any JJJJJJJJJJJJJ+ can be asked. 2ords like Cblack- can be scrambled to Clbcka- and the students can be asked to unscramble them. 119
Students from the ages of 15!11 can be asked to write a story based on the nursery rhymes that they ha#e learnt. The story can be written in cursi#e writing which enhances their writing skills. %n doing so, their confidence le#el will boost and they will also learn to present their new knowledge aestheticly. Below are some of the acti#ities that may help in language de#elopment. /ou may want to try out some of these acti#ities in class. Types of &cti#ities ? reading= writing 2ord search = maFe = :umble Matching words = Aoining words >ill in the blanks 2ords scramble = Boggle Make sentences = 'ursi#e writing Story writing = <ewriting Pocabulary de#elopments 9rammar can be taught through filling in the blanks or word scrabble acti#ities. >or e)ample, based on the rhyme CBaa Baa Black sheep-, *uestions such as Baa baa Black sheep, ha#e you any JJJJJJJJJJJJJ+ can be asked. 2ords like Cblack- can be scrambled to Clbcka- and the students can be asked to unscramble them. Students from the ages of 15!11 can be asked to write a story based on the nursery rhymes that they ha#e learnt. The story can be written in cursi#e writing which enhances their writing skills. %n doing so, their confidence le#el will boost and they will also learn to present their new knowledge aestheticly. Below are some of the acti#ities that may help in language de#elopment. /ou may want to try out some of these acti#ities in class. Types of &cti#ities ? reading= writing 2ord search = maFe = :umble Matching words = Aoining words >ill in the blanks 2ords scramble = Boggle 120
Make sentences = 'ursi#e writing Story writing = <ewriting Pocabulary de#elopments Aokes = $uFFle sol#ing Types of &cti#ities ! "ral E &ural Listen to songs, rhymes Listening for specific reasons eg. for words, letters, pronunciation Sing along 4 indi#idual7 'horal = 'horus = small groups singing 9uided singing eg. with lyrics = music 'hanging or adapting lyrics 'hanging tones, pitch etc. 8ramatiFation = <ole play 7./ C'n&!u#i'n Songs and poetry are a #aluable teaching and learning tool. Songs and poetry can help learners impro#e their listening skills and pronunciationO they can also be useful for teaching #ocabulary and sentence structures. Songs and poetry combine the holistic, lingual and conte)tual approach with fun, acti#ity and moti#ation 48ale, 16637. &ll teachers should see this big ad#antage and use songs and poetry as a part of their lessons for young learners. 2e need to reflect and act on what Shakespeare says in his famous play, Twel/th Hi!ht, C%f music be the food of lo#e, play on.. 4@ardisty, 166B7. %f Shakespeare li#ed in the 31 st century, he would ha#e fully agreed that music is not only the food for lo#e but also a meal for language learning.
121
A #a%$!e A&ti,it" ;
La=e! t e Ti%e 5i&4'r" .i&4'r" .'&4 5i&4'r" .i&4'r" .'&4 T e %'u#e ran u$ t e &!'&4: T e &!'&4 #tru&4 D t2e!,e T e %'u#e ran )'2n 5i&4'r" .i&4'r" )'&4. 6D 'ne: t2': Je&t8
T' tea& 'ra!;aura! #4i!!# To teach Sound system ! 4 Co- sounds 7 Eg. @ickory, 8ickory, dock, down, clock E mouse $ronunciation E Enunciation 122
Timing E <hythm E &esthetics Tone = pitch = Poice modulation $roper articulation of words = Pocabulary (umbers 4 one, twoYY.twel#e7 4 also connected to maths7 M'n)a" 9rammar 4 ran up, ran down7 E repetition Today is Monday, today is Monday. Monday string beans. &ll you hungry children, come eat with it upM 2ords List ! Csame soundsor and ending same alphabets 'lock Mouse Today is Tuesday, today is Tuesday. eg. block house Tuesday spaghetti, Monday string beans. &ll you hungry children, come and eat it upM Today is 2ednesday, today is 2ednesday. 2ednesday soup, Tuesday spaghetti, &cti#ity B ! older students Monday string beans. &ll you hungry children, come and eat it upM 2rite an imaginati#e composition. /ou are the mouse. 2hy are you going up and down the clock+ Today is Thursday, today is Thursday. 2rite a short dialogue the clock Thursday roast beef,between 2ednesday soup,and the mouse. Tuesday spaghetti, Monday string beans. &ll you hungry children, come and eat it upM Today is >riday, today is >riday. >riday fresh fish, Thursday roast beef, 2ednesday soup, Tuesday spaghetti, Monday string beans. &ll you hungry children, come and eat it upM Today is Saturday, today is Saturday. Saturday chicken, >riday fresh fish, Thursday roast beef, 2ednesday soup, Tuesday spaghetti, Monday string beans. &ll you hungry children, come and eat it upM Today is Sunday, today is Sunday. Sunday ice!cream, Saturday chicken, >riday fresh fish, Thursday roast beef, 2ednesday soup, Tuesday spaghetti, Monday string beans. &ll you hungry children, come and eat it upM <an man
Task
9roup 8iscussion.
@ow can you use the rhymes abo#e 4Monday7 and the one below 4This old123 man7 for language de#elopment among young learners+
This old man This old man, he played one @e played knick!knack on my thumb 2ith a knick!knack paddywhack, gi#e a dog a bone This old man came rolling home This old man, he played two @e played knick!knack on my shoe 2ith a knick!knack paddywhack, gi#e a dog a bone This old man came rolling home This old man, he played three @e played knick!knack on my knee 2ith a knick!knack paddywhack, gi#e a dog a bone This old man came rolling home This old man, he played four @e played knick!knack on my door 2ith a knick!knack paddywhack, gi#e a dog a bone This old man came rolling home This old man, he played fi#e @e played knick!knack on my hi#e 2ith a knick!knack paddywhack, gi#e a dog a bone This old man came rolling home This old man, he played si) @e played knick!knack on my sticks 2ith a knick!knack paddywhack, gi#e 124 a dog a bone This old man came rolling home
This old man, he played se#en @e played knick!knack up to hea#en 2ith a knick!knack paddywhack, gi#e a dog a bone This old man came rolling home This old man, he played eight @e played knick!knack on my gate 2ith a knick!knack paddywhack, gi#e a dog a bone This old man came rolling home This old man, he played nine @e played knick!knack on my spine 2ith a knick!knack paddywhack, gi#e a dog a bone This old man came rolling home This old man, he played ten @e played knick!knack once again 2ith a knick!knack paddywhack, gi#e a dog a bone This old man came rolling home DDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDD TUTORIAL TASKS Task 1 Select=adapt a song and a poem for any le#el 'reate acti#ities based on the song and poem focusing on any language de#elopment ? sound system=#ocabulary= grammar= language skills 8ramatiFe the song =poem. Task 3 Select=adapt a song and a poem for any le#el 2rite out two acti#ities that can be used for language de#elopment among young learners
125
A #a%$!e A&ti,it" ; <eferences
La=e! t e Ti%e
'o), '. 4355I7. Teachin! lan!(a!e )rts* ) St("ent-centere" +lassroo , (@ th e"). QS& &llyn E Bacon. 8ale, T.9. 416637. Son!s in action. (ew /ork $rentice @all. @ardisty, 8. 4166B7. M(sic lives- live Teacher, 34B7 GB!GG. (sic in the classroo . Modern English
Lo, <. E >ai Li, @.'. 4166I7. Son!s enhance learner involve ent. English Teaching >orum,4B17 I!11. Mitchell, 8iana. 4355B7. +hil"rens 'iterat(re* )n invitation to the worl". (ew /ork $earson $ublication. Murphy, T. 416637. M(sic an" son!. @ong ;ong ")ford Qni#ersity $ress. Showalter, E. 435537. Teachin! literat(re. ")ford Blakewell $ublishing.
126
Malaysian $rimary Syllabus ;SS< 'urriculum Specifications htt ())h'"h,a!d.h't+ho.+om.a$) oemforms. df htt ())www.so!"sfortea+h'!".+om)!$rseryrhymes.htm htt ())www.'Fea.or")art'+,es.htm, htt ())www.s+r'bd.+om)do+)80755012)Lear!'!"/from/Go$!"/3h',dre!/;esear+h/'!/ 9ar,y/3h',dhood/1$s'+
TOPIC >
LESSON PLANNING USING SONGS AN. POETRY
>.0 SYNOPSIS Topic L highlights the key factors in lesson planning, cohesion in the de#elopment of stages, integration of skills using songs and poetry, and lesson e#aluation. %t is aimed to help you through the process of lesson planning and to know what constitutes a Csuccessful- lesson. 9ood planning leads to good teaching and successful learning is the product of a well!planned lesson. >.1 LEARNING OUTCOMES By the end of Topic L, you will be able to identify the key factors in lesson planning link the stages in lesson de#elopment plan and implement ESL lessons using songs and poetry e#aluate the lesson plan 4for its strengths and weaknesses7 >.2 FRAMEWORK OF TOPICS
127
CONTENT SESSION SE4EN (15 H&!r3) >.2 Intr')u&ti'n
.The key to good teaching, purposeful class management and the achie#ement of sustained educational progress lies in effecti#e planning. Learning does not occur by chance.. 49raham Butt, 355I7 E#ery teacher who takes pride in his teaching will put in time and effort to plan his lessons well, regardless of his e)perience or status as a teacher. The effecti#e teacher re*uires a sound understanding of pedagogical principles as well as the skills needed in planning and managing the lesson. %n this section, you ha#e to think about the lesson ob:ecti#es, content, materials, se*uencing, acti#ities using songs and poems, and timing. /ou will need to refer to your scheme of work, the curriculum syllabus, a selected te)t or song that matches the needs of your students and some other materials as resources before you plan your lesson. /ou ha#e to be selecti#e in your choices of songs and poetry to suit the language needs of the students while fulfilling the re*uirements of the syllabus.
128
L.3.1 Ke" Fa&t'r# in Le##'n P!annin( $lanning a lesson re*uires time and effort. %f you want to be an effecti#e teacher, you need to know your pedagogical principles, approaches, strategies, as well as the sub:ect content of your area of e)pertise. Aust knowing what to plan is not enough for any effecti#e teacher, but knowing how to cater to the language needs of #arious groups of students of di#erse abilities and le#els of proficiency is the key to planning effecti#e lessons. 2hat you should know is how to plan an ideal lesson for your particular class. Lessons should be structured for ma)imum learning. >or this purpose, lesson planning is based on ,a scheme of work which is essentially an o#erall plan for a term or half a term of the academic year for teachers to follow outlining the content, methods and resources that will be used to deli#er the sub:ect curriculum. 4Butt, 355I7. & number of indi#idual lesson plans are de#ised from this scheme of work to co#er the specific sections of the national curriculum or specifications of the syllabus. Lesson planning is a skill that in#ol#es de#eloping ob:ecti#es based on a curriculum, or specified goals, and then se*uencing a number of acti#ities in which the teacher and students interact in the teaching!learning process. & good lesson plan usually consists of an assessment at the end to find out whether the aims or ob:ecti#es of the lesson ha#e been achie#ed. This feedback is constructi#e for the teacher to plan the ne)t lesson so that there is continuity in the learning process. Before you plan your lesson, there are se#eral considerations to take before the process of disseminating information and knowledge to your students can take place. The pre!planning stage re*uires you to think about X learners- profiles 4who your students are7 X syllabus re*uirements 4what they need to learn from the syllabus7 X lesson outcomes 4what lesson ob:ecti#es you want to achie#e7 X sub:ect matter 4what grammar focus or language input you want to gi#e7 X integration of skills 4which skill=s your students need to de#elop7 X selection of materials= teaching aids 4what type and which song or poem you want to select7 X the types of teaching and learning acti#ities=techni*ues=approaches to use X the strategies employed to induce collaborati#e and interacti#e participation >irst of all, you should know the profiles of your students and their abilities, and 129
decide on the le#el of difficulty of contents from the syllabus, select the appropriate type of songs or poetry to cater to their le#els of proficiency and decide what approaches, strategies, techni*ues and skills you want to use in the lesson plan. <emember to pitch the input to the learners- le#els of abilities and different learning styles. Secondly, you need to write clear beha#ioural ob:ecti#es or learning outcomes of the lesson. These should be specific, measurable, achie#able, realistic, and timed!based. 4<emember the acronym SM&<T7. The use of beha#ioural ob:ecti#es ser#es as a criteria for a teacher to gauge whether he has been successful in achie#ing his teaching goal and also whether the students ha#e been able to achie#e the e)pectations of the learning outcomes. K) well-constr(cte" behavio(ral obGective "escribes an inten"e" learnin! o(tco e
an" contains three %arts, each o/ which alone eans nothin!, b(t when co bine" into a sentence or two, co (nicates the con"itions (n"er which the behavio(r is %er/or e", a verb that "e/ines the behavio(r itsel/, an" the "e!ree (criteria) to which a st("ent (st %er/or the behavio(r. A/ any one o/ these three co %onents is issin!, the obGective cannot co (nicate acc(rately.L 4;iFlik, B., 35507
%n other words, the three parts of a beha#ioural ob:ecti#e are 1. 3. B. 'ondition 4a statement that describes the conditions under which the beha#iour is to be performed7 Beha#ioural Perb 4an action #erb that connotes an obser#able student beha#iour7 'riteria 4a statement that specifies how well the student must perform the beha#iour7 4;iFlik, B., 35507
Thirdly, you should select your acti#ities, strategies, techni*ues and materials appropriately to match your learning ob:ecti#es. Be ready to ad:ust or amend for impro#ement based on the feedback from students or colleagues. %t is important that you ensure cohesion and continuity of contents and de#elopment of the specific or integrated skills in the progression of stages when you plan your lesson. Lastly, the format of the lesson plan is not fi)ed to a particular pattern. /ou can decide whether you want to use the con#entional model of Set %nduction! $resentation!$ractice!$roduction 4$$$7 model, or the skills!based model 4Set %nduction 4$re!7 ! %ntroduction! 8e#elopment and $ractice 42hile!7 ? 130
'onsolidation= Enrichment=<emedial 4$ost!7 model7. @owe#er, it is imperati#e that you remember to include key details in your plan while you decide on the most suitable format to use. Be comfortable to use either format according to your purpose and needs. A&ti,it" 1+ $ractise with a partner 1. 2rite a beha#ioural ob:ecti#e each to teach the concept of numbers 1!15 to a /ear Three class using a song. Share with your partner.
Su%%ar"+ >actors that you need to remember to include in the planning process profile of the target students 4age, needs, capabilities, le#els of proficiency7 selections of syllabus items= topics to be co#ered purpose of the lesson 4aims, ob:ecti#es and learning outcomes from syllabus7 sub:ect matter 4knowledge, understanding and skills7 integration of language skills methods of the lesson 4strategies, techni*ues and acti#ities to ensure learning7 e#aluation and assessment of the lesson 4of student learning and teacher teaching7
L.3.3 .e,e!'$in( Le##'n Sta(e# The most important thing to remember is that you must ensure the cohesion 4continuity or connection of ideas7 in the progression of stages as you implement your teaching plan. This is to allow your students to grasp your teaching point step by step as you guide them through the stages until you achie#e the desired or e)pected learning beha#ioural ob:ecti#e or outcome. /ou will need to plan how one acti#ity leads into another and how the stages or parts of a lesson are linked. The rationale for this is to enable your students to identify when a stage ends and when another begins. /ou need to think carefully what to put into the stages of a lesson plan and how to get from one stage to another as smoothly as you can. The stages of a lesson plan comprise the following Set %nduction = $re! 4skill selected7 Establish e)pectations =set the learning e)perience $resentation = 2hile ! %ntroduction of topic = sub:ect matter $ractice = 2hile! 131
>ocus on the learning e)perience hands!on. tasks $roduction = $ost! <einforce the learning e)perience with e)tended tasks= apply what they ha#e learnt &n e)ample of how lesson stages are de#eloped could be like this Theme Topic 'lass $roficiency le#e 8uration >ocused skill %ntegrated skills 9rammar focus Learning ob:ecti#e 2orld of ;nowledge &nimals /ear B %ntermediate 15 minutes 2riting Listening, Speaking and <eading (ouns! The young of animals To compose poems using at least one of the nouns taught within the stipulated time limit of 35 minutes.
A&ti,itie#+ 17 Teacher shows a #ideo clip to the class and asks them some *uestions. 37 Students sing along as the lyrics appear on the screen. 17 Teacher shows a slide on $owerpoint with the picture of an animal and asks if the students know what the young of the animal is called. 37 Students respond to the slides shown. $ractice 435 mins.7 (ursery <hyme -.Mary had a little lamb. Eg. 4adapted #ersion7 ,'ik Sitii had a furry cat, furry cat, furry cat, 17 Teacher instructs the students to write their own #ersions to the tune of the song ,Mary had a little lamb. using their choice of the young animals :ust learnt. Pideo clip ,Mary had a little lamb.. $owerpoint pictures of tame animals and their young. Z&cti#ating the students- prior knowledge and schema. Re#'ur&e#HN'te#+ Pideo clip from the /ou Tube 4(ursery <hyme ,Mary had a little lamb.7
Sta(e#H Ti%e+ Set %nduction 4G mins.7
C'ntent#+ (ursery <hyme ,Mary had a little lamb. Wuestions 17 2hat is the song about+ 37 2hat is the animal in the #ideo called+ Pocabulary 1. sheep!lamb 3. goat!kid B. cow!calf 0. hen!chick G. dog ? puppy 1. cat ? kitten L. duck!duckling
$resentation 415 mins.7
132
TSL3102 SONGS AND POETRY 'ik Siti had a furry cat, %ts fur was furry light brown.. $roduction 435 mins.7 $resentations %ndi#iduals sing their #ersions of the nursery rhyme 4<andom pick7 <e#iew The young of animals learnt. %ntegration of moral #alue ? 'aring for the young
37 Students compose their #ersions of the song and share with their partners. 17 Teacher selects or in#ites students at random to sing their #ersions aloud in front of the class. 17 Students recall the names of the young of animals shown earlier. 37 They sing the nursery rhyme in closure to the lesson.
Pideo camera= %!$ad to capture presentations of the select few.
'losure 4G mins.7
Z Enrichment =<emedial acti#ities can be gi#en as homework.
8iscuss in groups of four 1. %s the learning ob:ecti#e achie#ed+ 3. 'omment on the progression of skills, acti#ities and content. B. 2hat do you think of the selections of contents and acti#ities+ 0. List the strengths and the weaknesses of this lesson plan. G. Suggest some impro#ements that you would like to make to this plan.
L.3.B P!annin( an) I%$!e%entin( t e Le##'n &ccording to Lewis and @ill 416IG7, a lesson should ha#e a beginning, a middle, and an end. The beginning can consist of a warm!up acti#ity to catch the attention of the students or to arouse their curiosity. This can be :ust a *uestion 4, 2here did you go for your holidays+7 or a statement [, /esterday, something happened to me..7 or anything that can arouse their interest and prepare them for the ne)t stage and acti#ity. The end can be a *uick recap, a re#iew, a comprehension check or a brief summary while the middle will depend on what you intend to teach and your approach to teaching. %n each lesson, you will need to plan time to 133
ask about and re#iew pre#ious learning present new language practise new language produce new language impro#e language skills
2e also need to plan each lesson to include a balance between teacher talking!time and student participation learning and practising both new and pre#iously learned language listening, speaking, reading, and writing acti#ites knowing about language and learning how to use it
4Baker and 2estrup, 35557
%t is important to ha#e #ariety and balance for effecti#e learning. /ou need to ha#e a good #ariety of learning e)periences for the students- learning process. This means you ha#e to in#ol#e them acti#ely to keep them focused and interested. <emember to plan acti#ities which will allow the students to practise the language as much as possible. Some tips to moti#ate your students during the implementation of your lesson include using students- own opinions, ideas and e)periencesO encouraging student contribution and letting them speak or write without fearO gi#ing positi#e praiseO planning learning in easily achie#able stepsO recognising and openly acknowledging indi#idual and class progressO making best use of learning opportunities, both in and out of the classroom gi#ing attention to all the students, not fa#ouring the best, or the loudestO carefully managing learning acti#ities so that all students are in#ol#ed, not :ust the *uick and confident onesO making sure that any pair or group work benefits most of your classO encouraging all students and gi#ing lots of praise, especially to students who are working hard and trying to impro#e, and students lacking confidence. 8o not use negati#e words or a discouraging tone of #oice.
4Baker and 2estrup, 35557
134
%ndi#idual practice 17 8e#ise a lesson plan using a song or poem to teach a class of intermediate /ear >our students. ! think about what you want to teach ! think about the learning ob:ecti#es ! decide which skill=s you want to de#elop ! select your song or poem to suit your sub:ect matter ! check the cohesion and de#elopment of your lesson stages ! check the continuity and rele#ance of your acti#ities and see if they match your learning ob:ecti#es of the lesson ! think of how you want to assess your lesson
L.3.0 E,a!uatin( t e Le##'n P!an E#aluation is an important factor in getting feedback to impro#e lessons for the teacher. %t tells how much the students ha#e understood the concepts taught or how much they understand the instructional acti#ities to achie#e the e)pected outcomes of the lesson. To rate a successful lesson, students would be able to carry out the acti#ities as planned in the learning outcomes or ob:ecti#es of the lesson. &ccording to Butt 4355I7, Ka lesson eval(ation is not erely a "escri%tive acco(nt o/ class ana!e ent or o/ events that ha%%ene" in the lesson* rather it is a eans o/ analysin!:%roble solvin! the ways /orwar" /or /(t(re teachin! an" learnin!.L @e reiterates that all aspects of the lesson planned and taught should be e#aluated and impro#ements to be made in future lessons. Lesson e#aluation is central to a teacher-s professional de#elopment. The key to effecti#e lesson e#aluation 4on whate#er aspect that is being e#aluated7 is professional :udgement made according to agreed standards. Basically, the process of lesson e#aluation can be illustrated below
135
re#iew
plan
do
Fi(ure 1+ $rocess of lesson e#aluation
The o#erall aim of a lesson e#aluation is to measure what learning e)periences worked for you and what did not. This feedback is essential because it gi#es you important information on how much the students ha#e learnt and what you need to focus for future lessons.
%n relation to e#aluating lesson plans using songs and poetry, you must employ the appropriate assessment strategies to e#aluate student performance which are as #aried as the tasks to which students are assigned. & Csuccessfullesson is usually measured by the ability of students to carry out the instructional acti#ities and learning e)periences and achie#e the learning ob:ecti#es desired. Some of the common strategies used in assessing student performance are *uestions reflections presentations oral inter#iews simulations of acti#ities worksheets =handouts obser#ations 4during=after7 oral and written descriptions
136
/ou will ha#e to select the appropriate assessment tool to e#aluate the effecti#eness of your lesson. 2hat is important is that you should consider how you will monitor the performance and progress of your students during the lesson itself. This is essential in helping you as well as your students identify the strengths and weaknesses in your planning as they learn and to help them impro#e in those areas in future lessons. The following checklist of *uestions may be useful to you
1. &ims and ob:ecti#es 3. Methods G. <esources 2ere the aims=ob:ecti#es wholly or partially achie#ed+ 8id you manage to co#er the content of the lesson+ 'ould the students understand and use the contents=skills=knowledge you introduced+ 2hat do you think they actually learnt+ 2hat did any assessment show+ Wuestion and &nswer techni*ue Pisuals E "@$ %'T %ndi#idual, $air work, 9roup work 9ames, <ole plays, Simulations $racticals 2as the start and finish of the lesson orderly+ 2as the change of acti#ities orderly+ 2ere students organised into effecti#e learning groups+ 2ere instructions clear+ 2as a good learning atmosphere created+ 2as the preparation of resources sufficient+ 2ere interruptions dealt with effecti#ely+ Type and use of reward=praise 4smile= look=encouragement7 Tone and approach adopted towards class and indi#iduals Qse of boards, te)tbooks, worksheets, "@$, %'T 2ere the resources used effecti#ely+ 2hat should be planned ne)t+ <e#ise= re#iew= or teach something new+ Marking of books and feedback Specific targets for ne)t lesson
4Source Butt 9. 4355I7. Lesson $lanning. London 'ontinuum7
B. Management
0. 'ontrol and discipline
1. >ollow!up
137
TSL3102 SONGS AND POETRY Fi(ure 1.1 & framework for lesson e#aluations %t is recommended that you use the abo#e checklist when you plan and that you make it a habit to reflect after each lesson to gauge the degree of its effecti#eness. (ote the problems and constraints encountered and think of solutions or ways to o#ercome each challenge. $lan wisely and realistically for the benefit of all.
%n conclusion to this chapter, it is good practice for teachers to plan their lessons before they teach. 2hate#er form a lesson plan takes, it is an important tool that can help teachers make decisions, sol#e instructional problems, deal with classroom management issues, record progress, and be accountable to peers or super#isors.
4ractice %a5e# per6ect)

Si%u!ate) Tea& in( 6Gr'u$2'r48 In (r'u$# '* t ree: $!an a 70;%inute !e##'n u#in( eit er a #'n( 'r a $'e% t' tea& a &!a## '* %iCe);a=i!it" #tu)ent#. .' t e *'!!'2in(+ 1. .i#&u## )ra*t# '* "'ur !e##'n $!an# in "'ur (r'u$# an) re,i#e area# t at nee) i%$r',e%ent. 2. Se!e&t an) $re$are #u$$'rt %ateria!# *'r "'ur !e##'n#. -. C e&4 *'r !an(ua(e err'r# an) &' e#i'n '* &'ntent#. /. U#e t e & e&4!i#t t' e,a!uate "'ur !e##'n $!an#. <. Carr" 'ut a #i%u!ate) !e##'n in "'ur (r'u$# an) (et "'ur $eer# t' (i,e "'u t e *ee)=a&4 *ir#t =e*'re (ettin( t e *ina! 'r ',era!! *ee)=a&4 *r'% "'ur !e&turer.
;efere!+es Haker@ I. J 2estr$ @ #. K2000). The English language teacher's handbook: How to teach large classes with few resources. Lo!do!@ 8L( 3o!t'!$$m.
138
Butt, 9raham. 4355I7. 'esson .lannin!* 2n" edition. 'hennai 'ontinuum $ublishing Ser#ices. ;iFlik, B. 435507. Five +o avoi" t#e) )6 At on Mista$es in 6ritin! 'esson .lans (an" how to
http ==www.educationoasis.com=resources=&rticles=fi#eJcommonJmistakes.h tm @uraian Sukatan $ela:aran Bahasa %nggeris S; Tahun B. 4166I7. ;urikulum Bersepadu Sekolah <endah, $$;?;$M.
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TSL3102 SONGS AND POETRY

Literature in the Malaysian $rimary ESL classroom

$urposes of using songs and poetry in the Malaysian primary school

%ntra and inter personal de#elopment

TSL3102 SONGS AND POETRY

1. 2hat is literature+ 3. 2hy do we read it+

Literature in t e Ma!a"#ian $ri%ar" ESL &!a##r''%. Lets read

TSL3102 SONGS AND POETRY

Music is highly memorable and moti#ating. 3

TSL3102 SONGS AND POETRY

TSL3102 SONGS AND POETRY

S'n(# an) $'etr" in t e Ma!a"#ian $ri%ar" #& ''! &urri&u!u%

TSL3102 SONGS AND POETRY

for aesthetic de#elopment 'ultural considerations

to de#elop students aesthetic #alues+ to de#elop students- cultural considerations+

TSL3102 SONGS AND POETRY

9o to this website for more wonderful inspirational poetry. http ==www.teensselfhelp.com=9reat$oems.html

TSL3102 SONGS AND POETRY

Lan(ua(e Learnin( P'tentia!#

TSL3102 SONGS AND POETRY

TSL3102 SONGS AND POETRY

SONGS AN. POETRY FOR YOUNG LEARNERS

(ursery <hyme 8ramatic

Ballads $op <EB

TSL3102 SONGS AND POETRY

TSL3102 SONGS AND POETRY

TSL3102 SONGS AND POETRY

TSL3102 SONGS AND POETRY

TSL3102 SONGS AND POETRY

TSL3102 SONGS AND POETRY

TSL3102 SONGS AND POETRY

TSL3102 SONGS AND POETRY

TSL3102 SONGS AND POETRY

TSL3102 SONGS AND POETRY

PE.AGOGICAL PRINCIPLES OF TEAC5ING SONGS AN. POETRY TO YOUNG LEARNERS

TSL3102 SONGS AND POETRY

CONTENT SESSION TWO 67 'ur#8 -.2.1 Intr')u&ti'n 21

TSL3102 SONGS AND POETRY

TSL3102 SONGS AND POETRY

TSL3102 SONGS AND POETRY

(ow let us look at each principle closely.

b. 2hat do you understand with the term -phonics-+ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ 24

TSL3102 SONGS AND POETRY

-.2.2.2 Learnin( a# *un: %eanin(*u! an) $ur$'#e*u!

TSL3102 SONGS AND POETRY

-.2.2.< C ara&ter =ui!)in( in*u#e) 26

TSL3102 SONGS AND POETRY

TSL3102 SONGS AND POETRY

JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ

TSL3102 SONGS AND POETRY

TSL3102 SONGS AND POETRY

@eadmaster $uan Lay See @eadmaster $uan Lay See

@eadmaster $uan Lay See

@eadmaster $uan Lay See

TSL3102 SONGS AND POETRY

A&ti,it" ? <ead the poem below. Ta4e a Sn'2=a!! 31

TSL3102 SONGS AND POETRY

TSL3102 SONGS AND POETRY

TSL3102 SONGS AND POETRY

TSL3102 SONGS AND POETRY

TSL3102 SONGS AND POETRY

TSL3102 SONGS AND POETRY

-./.1 W'r!) '* #e!*: *a%i!" an) *rien)#

-.2.2.2 Learnin( a# un: %eanin(u! an) $ur$'#e*u!

-./.1 W'r!) '* #e!: a%i!" an) *rien)#