Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
Jane Arnold
ndice
Experiences that have positive results tend to be repeated and those with
negative outcomes avoided. Those that are associated with success are
approached with confidence and those associated with failure or displeasure
are approached with reluctance and distaste.
(Chastain 1988:167)
So, in Task Based Learning what teachers ask students is that they carry
out a series of tasks for which they will need to learn and recycle some
specific items of language. The main focus is the tasks to be done and
language is seen as the instrument necessary to carry them out. TBL thus
highlights the instrumental value of language
(Estaire & Zanon 1994)
Hablaremos en primer lugar de nuestro trabajo con tteres en el
aula de ingls. En nuestra opinin, es una tarea muy apropiada para
alumnos y alumnas de esta edad por varias razones. En primer lugar,
porque los nios la encuentran muy estimulante al asociarla con el
mundo de la fantasa y el juego; de este modo, queda garantizado un
nivel alto de atencin infantil. En segundo lugar, es una tarea
globalizadora de gran valor educativo que desarrolla la imaginacin
del alumnado brindndole la oportunidad de expresarse libremente
con los diferentes lenguajes artsticos. Tiene adems carcter
interdisciplinar, ya que conlleva la realizacin de una obra plstica
que, una vez acabada, se convierte en un medio para contar historias;
se trata, pues, a la vez de un trabajo escultrico-pictrico, lingstico,
corporal y rtmico y, por tanto, supone un medio holstico de
expresin que fomenta el desarrollo de las capacidades creativas.
a) Tteres de guiol
b) Tteres de sombras
c) Tteres de papel
Son iguales que las marionetas de sombra, pero realizadas sobre una
cartulina blanca y pintadas. El escenario se elabora con papel continuo
y se decora a base de dibujos o collages. Tienen la ventaja de que
pueden contener muchos ms detalles que los de sombras al ir
pintados y que no necesitan foco de luz ni pantalla especial (ver
apndice 3.3).
2.3. Mscaras
2.4.Cookie -making
Age: 4-8
Description: Once the children are familiar with the story, they make
a puppet of their favourite character (they may even choose objects
such as the chimney, the cauldron or the pigs houses). These puppets
are used for pair or group work to dramatize part of the story or for a
puppet show involving the whole class.
Age: 4-8
Description: Once the children are familiar with the story, they make
a shadow puppet of their favourite animal character and choose a
musical instrument for their puppet. The teacher moves the puppets
while the children tell the story and play the musical instruments
related to the different characters. At a later stage, the kids themselves
will move the puppets. The advantage of do you want to be my friend?
is that the dialogues are simple and repetitive, so this activity is quite
easy to carry out.
Age: 12-16
Age: 4-8
Age: 4-8
Material: Plasticine, tooth picks.
Description: This activity can be used to introduce the story. Ideally,
the class has already studied the biological cycle of butterflies with
their form teacher. As the English teacher tells the story to the class,
she makes plasticine models of the caterpillar, the leaf, the food it ate,
the cocoon etc. The children also make their own version. Some
words, such as hungry, can be explained through gesture. The story is
told several times, and each time the pupils participation increases.
Finally, they divide into groups to act out the story using their
plasticine models.
Follow-up activity: The class makes a book related to the story. Each
child contributes with drawings or written sentences.
Age: 4-8
Description: The children make coins in clay, which they paint when
dry. These coins are kept in the bank. They can be used for all sorts of
activities throughout the year (see the follow-up activity suggested for
the gingerbread man 3.6).
Age: 4-8
Songs: Pat a cake pat a cake; Who stole the cookies from the cookie
jar; Gingerbread man chant
3.8. My body
Age: 4-8
Songs: Head, shoulders knees and toes; The hokey pokey ( a very
amusing dance).
1
Armstrong recoge aqu las siete inteligencias originalmente planteadas por Gardner
que son las que nosotros vamos a tratar.
que el profesor da su clase magistral y los nios escuchan sentados en
su mesa.
1.1. Libros
Los nios con los que hemos estado trabajado tienen ahora una
clara predisposicin al debate que apoyan en ideas propias. Cualquier
cosa para ellos puede ser objeto de disputa dialctica. Nuestra misin
ha sido canalizar y coordinar las aportaciones de todos a travs del
turno de palabra y hacer que la opinin de todos fuese valorada y
respetada. Los alumnos hacen este tipo de actividad, tan personal e
intensa, mezclando los dos idiomas pues, como es lgico, su dominio
del ingls no permite usarlo sin complemento del idioma base. En
cualquier caso, todo el lenguaje relacionado con turn taking y
respect for each other lo realizan en ingls, adems de esforzarse
en utilizar lo que saben y preguntar lo que no saben. Los debates
pueden estar originados, en un principio, por el proyecto en que se
est trabajando o el tema del libro que se lee, pero casi siempre
acaban tomando un cariz ms vivencialmente personal.
2
Hunt, R. 1989. Oxford Reading Tree. Oxford: OUP.
inteligencia lgico-matemtica, desde el punto de vista organizativo y
de aprendizaje, y los alumnos a su vez han adquirido conocimientos
de matemticas bsicas con las actividades desarrolladas. Todo lo que
hay en el aula, especialmente la biblioteca o wisdom corner, est
clasificado y ubicado de forma ordenada y clara. Se han utilizado
conceptos y criterios de clculo, orden, estimaciones y
cuantificaciones siguiendo unas pautas que los nios conocen, lo que
ha permitido una organizacin gil de tareas entre ellos y ganar
autonoma en la mecnica de trabajo. Todo ello en lnea con la
mxima de Mara Montessori (Orem: 1971): un lugar para cada cosa y
cada cosa en su lugar.
3
Hill, E. 2000. London: Puffin Books.
4
Hunt, R. 1989. Oxford Reading Tree. OUP.
Para el desarrollo de las destrezas lgicas y secuenciales
realizamos una prctica que consiste en alterar el orden de las pginas
de uno de los libros desmontables hechos en clase. Enseguida se dan
cuenta que la historia pierde sentido, aunque pueda resultar graciosa, y
con el concurso general se recompone el orden del libro.
Otras veces resumimos en hojas sueltas las historias de libros
que ellos conocen y la actividad consiste en que tienen que colocarlas
segn el orden que se corresponde con la historia. Usualmente, ellos
mismos mezclan las tarjetas de varias historias para que agruparlas y
secuenciarlas les resulte ms complicado.
3.4. Videos
5
Micklethwait, L. 1996. Mulberry Books.
6
Macmillan Childrens Books. 1997.
grupos, siendo adems la base del cdigo para la clasificacin de los
libros de lectura en la biblioteca.
5.1. Canciones
8
Pearson, T. C. 1988. London: Picture Lions.
9
King, K. 1985. Oxford: OUP.
inteligencias: la musical, la corporal, la lingstica y otra ms de tipo
personal.
10
Tomlinson, J. 1992. London: Mammoth.
11
Hunt, R. 1989. Oxford Reading Tree. Oxford: OUP
xito que fue aplicada en el propio colegio, en las clases regulares en
espaol, pero en lengua inglesa.
6.4. Simulaciones
3. Conclusiones
Ana Robles
1. Introduccin
2. Qu es la Inteligencia Intrapersonal?
14
PNL= Programacin Neurolingstica.
las actitudes adecuadas se convierte, por tanto, en pieza clave de la
inteligencia emocional.
2. Qu es la inteligencia interpersonal?
3.1. La empata
Practicar cmo formular objetivos vlidos. Los resultados que consiga dependen de m.
Personal outcomes Cada uno de nosotros tiene su propio estilo y
Acostumbrarse a estableces planes de ritmo de aprendizaje. Todos tenemos que
actuacin con pasos concretos. buscar el sistema o sistemas que nos
Reflexionar sobre los puntos fuertes y funcionan mejor.
dbiles.
Students self-assessment
Empata
15
Las frases en negrita hacen referencia a actividades de aula que se
detallan en el apndice de actividades.
Relaciones interperso-nales
Tell your students to pay attention to how they are feeling. Ask them to
think of the colour, size, texture which best expresses their feelings.
They have to describe their feelings to a partner. Ask them to think and
then to describe their feelings orally to a classmate. Their description
should follow the example: My feeling is soft, red, and round.
5.2. TODAY I AM
Level: beginner +
Time: 5 minutes
Purpose: to talk about feelings, foster good group dynamics and
learning to listen and to relate to each other with respect
Materials : none
Procedure: At the beginning of the lesson, ask your students to form
a circle (they can do that quickly by standing up and circling the
tables). The first time you do a 'speaking circle' you would need to
explain them the procedure, from them on it would be enough to say
'circle time'.
The teacher will say one sentence describing his feelings, for instance,
Today I am feeling happy. I got good news.
Then, it is the turn of the student on the teacher's right to produce
his/her own sentence using the same beginning (I like this group
because...). Each student can choose to pass, or, if they want to speak
they can choose whether to speak in English or in their mother tongue.
If the student passes or speaks in English then it is the next student
turn, if the student speaks in mother tongue the teacher translates into
English. Although it is a good language exercise the main purpose of
the activity is not language learning but practising relational skills, so
Speaking Circles work when used on regular basis and not only once
in a while.
This is an activity inspired in the Circle time activity
created by Murray White (1992).
5.4. What If
Level: intermediate (2 Bachillerato)
Time: 50 minutes
Purpose: to think about alternatives and possibilities.
Materials : none
Preparation: ask your students to write an essay about how life
would have been for them under different
circumstances. For instance, if they had been born in
another country.
Alternatively, present them with a set situation (for
instance, you find a wallet with 10000 euros) and ask
them to describe three possible courses of action.
YOUR ASSESSMENT
Have you passed the exam, yes or no ?
How did you prepare the exam ?.
What did you do to prepare the exam that worked well for you ?
What did you do to prepare the exam that has to be improved or
changed ?
What else do you have to do now that you didnt do before ?
Do you know anybody who is very good at that kind of exam ?
What does person do that is different from what you used to do ?
How can you practise what you have learnt ?
5.7. My point, your point
Time : 50 m.
Level : pre-intermediate
Purpore: to learn to take the other persons point of view.
Preparation : a copy of instructions below per student.
Procedure : give each student a copy of instructions sheet below and
ask them to work individually. When they finish,
comment in pairs or small groups.
5.8. Edison
Time : 50 m.
Level : high beginners
Purpose: to help the students reflect on attitudes towards problems.
Preparation : make one copy of the text per small group, then cut it
up so that there is one sentence on each slip of paper.
Procedure : divide the class in groups of three and hand them out the
cut up copy of the text. Their task is to re-assemble the
text first, and then check in a dictionary any words they
dont understand.
Follow up : ask your students to explain in writing their opinion about
Edisons attitude.
Andreas. S and Andrea. C. 1987. Change your Mind and Keep the
Change. Utah: Real People Press
Arnold. J. (ed).1999. Affect in Language Learning. Cambridge
University Press: Cambridge
Bandler, R. and Grinder, J. 1979. Frogs into Princess. Utah: Real
People Press
Bandler, R. and Grinder, J. 1982. ReFraming. Utah:Real People Press
Bohm, D. 1996. On Dialogue. Londres: Routledge
Campbell, L. , Campbell, B. y D. Dickinson. 1999. Teaching and
Learning Through Multiple Intelligences. Boston: Allyn and
Bacon
Damasio, A. 1994. Descartes Error: Emotion, Reason and the
Human Brain. Nueva York: Avon
Davis, P. y M. Rinvolucri. 1990. The Confidence Book. Londres:
Longman.
Dilts, R. 1990. Changing Beliefs Systems with NLP. California: Meta-
Publications.
Dilts, R.1990. Changing Belief Systems with NLP. Cupertino: Meta
Publications
Dreikurs, R. and Cassel. P. Discipline without tears 1991. NuevaYork:
Plume Books
Gardner, H. 1993. Multiple Intelligences: The Theory in Practice.
NuevaYork: Basic Books
Gerngross, G. y H. Puchta. 1992. Creative Grammar Practice.
London: Longman
Gerngross, G. y H. Puchta. 1993. Teaching Teenagers. Londres:
Longman
Goleman, D. 1995. Emotional Intelligence. Londres: Bloomsbury
Goleman, D. 1996. Emotional Intelligence. Londres: Bloomsbury.
Hoffman, E. 1999. The Learning Adventure. Eva Hoffman, Learn to
Learn: Great Britain
Nicholson-Nelson. K. 1998. Developing Students Multiple
Intelligences. Nueva York: Scholastic Professional Books
Revell, J. y S.Norman. 1999. In Your Hands, NLP in EFL. Londres:
Saffire Press
Seligman, M. 1990. Learned Optimism. Nueva York: Pocket Books
Captulo 5
1. Introduccin
2. Revisin terica
La empata nos pone en la posicin del otro y nos hace ver que
nuestra postura no es la nica posible, y lo que es ms, que no siempre
es la mejor (Arnold 1999). Las actividades que potencien la empata
tendrn en cuenta los roles, el trabajo en equipo y el deseo de
cooperacin y de tolerancia. En el proceso, todos y cada uno de los
miembros del grupo tendrn que realizar una misin exclusiva, ya que
el xito o fracaso del resultado final depende del inters y esfuerzo de
todos (Crandall 1990). Cada miembro deber aprender a confiar en los
dems, a resolver dificultades por el bien comn y a ayudar a aquellos
que lo necesiten. Cuando el alumno se siente bien en su grupo, rinde
ms y mejor, tiene ms claridad mental, desarrolla la creatividad, se
siente ms motivado, los conflictos son ms fciles de resolver y sobre
todo, mejora la comunicacin. Este tipo de ejercicios fomenta adems
la autoestima y la confianza en uno mismo ya que el grupo depende de
la colaboracin individual. Tambin potencia la interaccin incluso en
aquellos alumnos que temen hablar en pblico, reduce la ansiedad, la
inhibicin y aumenta por tanto la motivacin, el inters y la atencin
en clase (Arnold 1999). Stevick (1990) seala que algunos mtodos
humansticos ponen un inters especial en crear un clima clido en las
relaciones sociales:
4. Conclusin
5. Aplicacin prctica
BECAUSE ...
I AM HAPPY.
I AM FRIENDLY.
I AM A GOOD BASKETBALL PLAYER.
I AM RESPONSIBLE.
I AM A GOOD FRIEND.
I WAS CAPABLE.
Level: intermediate
Purpose:
A. To activate learner's emotional intelligence through self-
knowledge.
B. To motivate students towards the oral use of the target
language by expressing their own feelings.
Time: 15 minutes
Procedure: First, a question to remember positive emotional
experiences is proposed. Then, learners are given time to think about it
while they are listening to some peaceful music and finally, they share
their thinking with some other partners. The process can be repeated
three or four times changing the question and the partner. Some of the
posed questions could be:
(
Gardner, 2001: 2)
1. Introduccin
2
Dado que Ana Robles ya habla de la II como parte de la inteligencia emocional en
el captulo 4 de este volumen, intentar aadir otras cuestiones que no son de menor
relevancia.
que le llevan a ciertas actitudes y comportamientos conflictivos, que
hacen del proceso de enseanza un camino arduo, en el que el
profesorado tiene que emplear todas las herramientas disponibles para
sobrellevar la clase.
Por una parte, tenemos que considerar la inteligencia como una capacidad o
actitud que permite a los individuos procesar la informacin que reciben o
de la que disponen (tanto la externa como la informacin <interna> de la
que disponen en su memoria) por medio de un conjunto de procesos
cognitivos. El segundo tipo de trminos son los procesos y operaciones
cognitivas gracias a los cuales se construyen o se crean nuevos contenidos
mentales que son aplicables teleolgicamente por la conducta del individuo
para determinados fines adaptativos o utilitarios.
En resumen podemos decir que la inteligencia supone tanto
comprender la naturaleza de algo como solventar o construir a partir
de la mencionada comprensin. Ante esta simple, pero clara
descripcin, ya podramos describir la inteligencia intrapersonal,
adaptando a la descripcin de la inteligencia el factor intrapersonal, y
no omitiendo (como hizo Goleman) el concepto de pensamiento
como operante o medio instrumental. Por tanto, la II se puede definir
como la capacidad de comprenderse a uno mismo, de reconocer las
emociones, virtudes y debilidades personales, y la habilidad para
resolver mediante el pensamiento los conflictos que inestabilizan el
equilibrio o la homestasis psicolgica.
3
De modo parecido al conocido filtro afectivo de Krashen (1982).
Tabla 1: La inteligencia intrapersonal como catalizadora
4
Segn Horwitz y Young (1991).
controlar las emociones, entonces habremos solventado una buena
parte del problema.
La ansiedad se puede presentar mediante cinco sntomas:
fsicos, psicolgicos, cognitivos, asertivos y conductuales5. Los
sntomas fsicos son de sobra conocidos por todos, porque son
prcticamente inevitables al alterarse el organismo ante la amenaza.
As, se presentan en forma de taquicardia, sensacin de ahogo,
pellizco gstrico, tics, sudoracin, miccin frecuente, etc. Como el
sntoma fsico altera el cuerpo, la forma de reducirlo es emplear una
tcnica que relaje el cuerpo. Por ello, los ejercicios de respiracin y
relajacin son muy recomendables. En el Apndice se dedicar una
especial atencin a cmo realizar este tipo de ejercicios en el aula,
incluyendo varios ejercicios fciles de hacer con alumnos
adolescentes6.
5
Recomiendo a los lectores interesados en saber ms sobre la ansiedad el libro de
Enrique Rojas (1989) La Ansiedad, donde aparece precisamente esta clasificacin de
los sntomas de ansiedad.
6
Los ejercicios que se proponen ayudan a desarrollar la II; sin embargo, en el caso
que cualquier alumno presente claro sntomas de los descritos debe acudir a un
especialista para su tratamiento.
7
El nivel de autoeficacia es de vital importancia para un alumno, ya que es su
indicador sobre si es capaz o no de hacer una tarea o de cumplimentarla con xito, lo
cual est estrechamente ligado con su motivacin para hacer las tareas o
abandonarlas.
Los sntomas cognitivos son muy importantes, ya que son los
responsables de hacer que nuestro pensamiento no funcione
correctamente. Hacen que nuestros alumnos tengan problemas de
memoria, no perciban la realidad de una situacin tal como es, no
procesen la informacin de forma lgica, y emitan juicios subjetivos y
distorsionados por una realidad deformada. Los sntomas cognitivos
son los principales culpables de los malos comportamientos de
nuestros alumnos, ya que al fin y al cabo, el pensamiento es la
antesala de la conducta. Llegar a determinar el patrn de pensamiento
de una persona es muy difcil y laborioso. Entre otros datos, hay que
saber qu mecanismos de defensa utilizan. Por ejemplo, en el aula
vemos como en muchas ocasiones un alumno exclama con un
exabrupto: el profesor me ha suspendido, en lugar de reconocer que
l ha sido el culpable del suspenso (mecanismo de defensa de
proyeccin) o el ingls se me da fatal, en lugar de determinar
exactamente qu destreza se le da mal: hablar?, escribir?, leer?,
or? (mecanismo de defensa de generalizacin).
Im
good Psicolgico No todos tenemos las mismas
Ser consciente de las
at..., but capacidades ni aptitudes, pero
autoeficacia capacidades de uno.
Im bad todos tenemos algunas.
at...
Psicolgico Autoetiquetarse
I think I autoestima Toda persona tiene algo
positivamente para
am... positivo que reconocer.
reforzar la autoestima.
YES: 2 POINTS
SO, SO: 1 POINT
NO: 0 POINT.
IVE
IVE IVE
LEARNT IVE
DATE HAD TRIED TOTAL
NEW PARTICIPATED
FUN MY BEST
THINGS
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
TOTAL
(Material fotocopiable permitido por el autor, Fernando D. Rubio Alcal)
7.6. AS YOU, AS ME
Level: EP, ESO
Time: 15 minutes
Skills: Writing, reading, speaking, listening
Procedure: The teacher explains the same degree adjective
comparison (She is as tall as him). The students write on a piece of
paper several sentences of their own, comparing themselves with other
students, for instance: I am as tall as Juan, Saras eyes are like
mine, My nose is like Pedros, etc. Then, the teacher picks the
sheets, shuffles them and hands them out at random. Now the teacher
tells any student to read the information and the others have to guess
who wrote it.
Variation: It can be done using other degrees of comparison.
LA ACTIVACIN DE LA INTELIGENCIA
ESPACIAL: LAS IMGENES MENTALES EN EL
AULA DE INGLS
1. Introduccin
5. Inteligencia espacial
1
Algunas de las actividades que se resean estn basadas en sugerencias de Brian
Tomlinson (1997) y algunos de sus talleres.
informacin nueva. Si los alumnos dibujan mientras leen podrn
generar representaciones mentales del texto; si se les pide que dibujen
despus de la lectura se fomentar la consolidacin de la comprensin
del texto y finalmente, si se les pide que dibujen con cierta demora de
la experiencia se profundizar en la comprensin y se activar el
recuerdo. El comentario verbal sobre los dibujos puede activar la
codificacin dual de la informacin a la que se haca referencia arriba
y profundizar en la comprensin.
8.1. At home
Level: Intermediate
Time: 45-55 minutes
Purpose: workwiththeconditionaltenseanddeveloptheabilityto
usevisualimageryinthinking..
Materials: none
Procedure: Tellthefollowingstorytoyourstudents,askthemtosee
themselvesinthestory,thenaskthemtoanswerthequestionyouask.
Script:Imagineyouarestrollingintheoldpartofacity.Itisafoggy
eveninginJanuaryandyouarealone;youareenjoyingyour
walkalot,thesightsofthecity,thesmells,thecold,thesilence
of the night Suddenly you see something shining on the
ground,youkneeldownandrealiseitisagoldenring.Youtake
itandrubitagainstyoursleeve.Evenatnightitshinesvery
brightly. You try it on and a very weird feeling spreads
throughout your body. It is wonderful, and you feel very
powerful,asifyoucoulddowhateveryouwish.Suddenlyyou
feelthatyouwouldlikeapieceofchocolatecakeandthereitis,
inyourhandAtthatmoment,yourealisethatallyourdesires
cancometrue.
Whatwouldyoudowiththismagnificentpower?
Thinkcarefullyaboutit,considertheworldsituation,yourownlife,
the lives of others you know and remember that you can do
everything,whateveryouwant.Decideonwhatyouwouldliketodo,
pictureitinyourmind,thenwritedownwhatyousaw.
Givestudents15minutestofinishwriting.Basedonwhattheyhave
written,theyworkinpairsandtelltheirpartnerwhattheywoulddo.
Theywillneedtonegotiatebetweenthemthreethingstheywoulddo.
Theybothmustagreeonallthree.Thentheysharewiththerestofthe
class.
8.3. Nobel prize
8.4. Replay
2
It might be a good idea to coordinate this activity with the arts teacher.
Post-listening activities: Students are asked to provide a title for the
story in groups. Each member suggests a title and they try to agree on
the best one. Students are given different illustrations representing
settings or characters; they must point out the one that suits best the
character / setting as they imagine it, or they can be asked to point out
those illustrations that dont match the story.
Group project: Students write the text from what they understood;
they select pictures from different magazines and papers to create a
collage illustrating the text they write. This activity can be modified to
include a mixture of drawing and illustrations.
Bibliografa
Captulo 8
EL DESARROLLO DE LA INTELIGENCIA
INTERPERSONAL MEDIANTE LAS TCNICAS DE
APRENDIZAJE COOPERATIVO
1. Introduccin
Planificacin de Actividades
- Especificar Objetivos Acadmicos
- Especificar Destrezas Sociales
Organizacin de la Clase
- Formacin de Grupos
- Roles de los Alumnos
- Materiales
- Organizacin Fsica del Aula
Evaluacin
- Rendimientos de los Alumnos
- Actuaciones de los Alumnos
- Recoger la Reflexin del Alumnado
5. Conclusiones
Hobbies
Colours
Places
Music
Cinema
Famous people
Animals
SECRETARY
You are responsible for writing the final version of the poem.
SPOKESPERSON
ARTIST
LANGUAGE CONTROLLER
EXPRESS A DOUBT
ANSWER A QUESTION
ASK A QUESTION
GIVE AN IDEA
ASK FOR CLARIFICATION
CLARIFY AN IDEA
RESPOND TO AN IDEA
SUMMARISE
ENCOURAGE PARTICIPATION
SAY SOMETHING POSITIVE ABOUT SOMEONES
IDEA
Procedure: Divide the class into groups of 4-5 students. Give students
a topic to discuss. Each member of the group is given a set of 10 slips
of paper (or chips), with 10 different discourse strategies. Learners
must place a chip on the table before they start speaking. At the end of
the discussion, all students must have used their chips, avoiding that
only a few students take part. When a learner finishes their
contribution, the other members of the group think of a suitable way
to continue the conversation. Students cannot speak unless they use a
chip at a time.
LA INTELIGENCIA CINTICA-CORPORAL Y EL
APRENDIZAJE DEL INGLS
1. Introduccin
The divorce between the mental and the physical has not infrequently
been coupled with a notion that what we do with our bodies is somehow
less privileged, less special, than those problem-solving routines carried out
chiefly through the use of language, logic, or some other relatively abstract
symbolic system. (Gardner 1993a:208)
I think that any belief that all the answers to a given problem lie in one
certain approach, such as logical-mathematical thinking, can be very
dangerous. Current views of intellect need to be leavened with other more
comprehensive points of view.
It is of the utmost importance that we recognize and nurture all the varied
human intelligences, and all of the combinations of intelligences. We are
all so different largely because we all have different combinations of
intelligences. If we recognize this, I think we will have at least a better
chance of dealing appropriately with the many problems that we face in the
world. If we can mobilize the spectrum of human abilities, not only will
people feel bettter about themselves and more competent; it is even possible
that they will also feel more engaged and better able to join the rest of the
world community in working for the broader good. (Gardner
1993b:12)
...learning, thought, creativity and intelligence are not processes of the brain
alone, but of the whole body. Sensations, movements, emotions and brain
integrative functions are grounded in the body. The human qualities we
associate with the mind can never exist separate from the body.
students need an active and passive knowledge of the gestural system of the
target language, for gesture often takes on phonemic importance, radically
changing the meaning of a message... Combinations of gestures are like
combinations of words: each gesture or word added or subtracted alters
meaning.
5. La enseanza holstica
6. Conclusin
7. 1 Paths
Sayings:
Whether you think you can or think you cant... you
are right. (Henry Ford)
In all things we learn only from those we love.
(Goethe)
Some see things as they are and say Why? I
dream things that never were and say Why not?
(George Bernard Shaw)
Everything you can imagine is real. (Picasso)
Only in the darkness can you see the stars. (Martin
Luther King)
Our greatness lies not so much in being able to
change the world as in being able to change
ourselves. (Gandhi)
Variation: For students of elementary level and above to form groups
pictures can be pasted on cards, cut up into puzzle pieces and then
distributed to students to form their groups. When each group gets
their puzzle completed, they can decide on three clues to tell the rest
of the class for them to guess what their picture is about. To encourage
student participation, you can ask them previously to bring in pictures
they like to use for this and other activities.
.
7. 3 Drawing on bodily kinesthetic intelligence
Put all students names in a bag and have them draw someone elses
name. Explain that it is everyones birthday today and that they going
to give a present to the person whose name they have. Each student
will have 5 minutes think of a present they think their classmate would
like and to draw a picture of it. Stress that the drawing doesnt have to
be perfect. Then students get up and give and receive their presents,
using the language learned for both functions.
Variation:If students do not know each others names well, they can
work in pairs with the person next to them, though this reduces the
opportunity for movement.
7. 5. In that way
Commands:
-If you were born in Seville (substitute wherever you
teach), raise your right hand; if you were born
elsewhere, raise your left hand.
-If you prefer going to the beach, look to the right; if
you prefer going to the mountains, look to the left.
If you are feeling sleepy, yawn; if you are feeling
hungry, rub your tummy. If both, do both.
-If you like Real Madrid, shake your right hand; if you
like Barcelona shake your left hand; if you dont like
football, shake both hands.
-If today is Friday (substitute the appropriate day),
stand up.
-If you like going to the cinema more than cleaning
your room, sit down.
-If Arnold Swarznegger is taller than Danny de Vito,
say OK.
-If you want to pass this course, clap your hands.
7. 8. To be continued
Chapter 10
1. Introduccin
1
Platn lo define como el orden en el movimiento (citado en Ducorneau 1988: 47)
simultaneidad de sonidos que necesitan de una inteligencia para ser
analizados y estudiados. Gardner (1999) identifica la inteligencia
musical como una de las nueve inteligencias que explican su teora de
la cognicin humana. Todas las inteligencias estudiadas por Gardner
han sido seleccionadas bajo el criterio de que se tratase de capacidades
innatas, es decir, potencialmente existentes en todos los seres humanos
y todas las culturas. La inteligencia musical no siempre se manifiesta
en su grado mximo como en el caso del genio de Mozart, ni todos
somos capaces de entonar una meloda con la maestra de Plcido
Domingo. Gardner lo explica de la siguiente forma:
Top-down approach to musical perception reveals that all but the most nave
(or most disabled) subjects appreciate something of the structure of music.
That is, given a piece in a certain key, they can judge which sort of ending is
most appropriate, which sort is less appropriate; hearing a piece in a certain
rhythm, they can group it together with others of similar rhythm or again,
complete the rhythm appropriately.
(Gardner: 1983: 107)
When we say that speech originated in song, what we mean is merely that
our comparatively monotonous spoken language and our highly developed
vocal music are differentiations of primitive utterances, which had more in
them of the latter than of the former. These utterances were at first, like the
singing of birds and the roaring of many animals and the crying and
crooning of babies, exclamative, not communicative...
(Citado en Murphey 1990: 96)
Ce nst ni la faim ni la soif, mais lamour la haine la piti la colre qui leur
ont arrach les premires voix...pour mouvoir un jeune coeur, pour
repousser un agresseur injuste la nature dicte des accens, des cris, des
plaintes: voila les plus anciens mots invents et voila pourquoi les
premires langues furent chantantes et passionnes avant dtre simples et
mthodiques.
(Rousseau 1781: citado en Murphey 1990: 97)
Music has the unique quality of integrating the emotional, cognitive, and
psychomotor elements that activate and synchronize brain activity. Not
only does music relax and stimulate the listener simultaneously, it also
educates the learner in listening skills and the refined architecture of sound.
5.1. La sugestopedia
Este mtodo del psicoterapeuta blgaro Georgi Lozanov nace a
finales de los aos sesenta. Jane Bancroft (1982) lo define como un
sistema nico de enseanza de lengua extranjera que combina la
relajacin del yoga con sugestiones verbales y el mtodo directo. Parte
de la base que la mente humana no deja de percibir cualquier estmulo
que simultneamente est ocurriendo alrededor, aunque est atenta,
concentrada en un estmulo especfico. Este procesamiento de otros
elementos se produce de forma inconsciente y es consecuencia de
nuestra capacidad de percepcin multisensorial. As, un hablante
involucrado en una conversacin con otra persona, no presta atencin
consciente a la cantidad de luz que hay en la habitacin en la que se
encuentra. Slo lo notificara de forma inmediata si hubiese un exceso
o una carencia de luz. Se considera el cerebro como una grabadora de
alta fidelidad (Penfield 1959) que en estado de relajacin es capaz de
retener todo el input que sea significativo y comprehensible (Krashen
1982). En Sugestopedia, este estado de relajacin se consigue a partir
de un entorno fsico y social agradable, del uso de msica barroca o
clsica y del tono de voz y entonacin del que hace uso el profesor.
La preferencia de Lozanov de seleccionar mujeres para entrenar su
forma de modular la voz, se apoya en la creencia que la calidad
timbral femenina es ms capaz de provocar reacciones emocionales y
fisiolgicas en el sujeto. El input comprehensible se logra en algunas
fases por medio de la traduccin, y en otras a travs de mmica,
dibujos, objetos y gestos.
3
Recibi dos premios que reconocen su labor de investigacin : fue nombrado
Knight of Public Health de Francia en 1951 y se le otorg la medalla de oro por su
labor de investigacin cientfica en Bruselas en 1958.
y analiza todos los sonidos, es decir, las frecuencias que los
caracterizan, convierten estas vibraciones mecnicas en impulsos
nerviosos, en formas electroqumicas que estimulan las terminaciones
de las fibras nerviosas. El odo humano no est slo a cargo de la
audicin sino que tambin posee la funcin vestibular. Esta se ocupa
del equilibrio, la coordinacin, el tono muscular, los msculos de
nuestros ojos, la verticalidad y nos ayuda a obtener la imagen espacial
de nuestro propio cuerpo, por lo tanto, relaciona toda la informacin
de tipo sensorial que emite nuestro cuerpo (Sollier 1997).
4
Incluso en la lectura mental es imprescindible sonorizar el texto escrito para su
descodificacin. La voz interior (Tomlinson 1998) est a cargo de este fenmeno
para que se pueda producir la audicin interna.
la voz del nio se vuelva ms rtmica y le sea, por tanto, ms fcil la
fluidez que requiere la mecnica lectora.
I began to realize that the greatest value of music to enhance writing in the
class was not in its affective power, but in its isolating power. That is,
music is a place to go. It gives students a dimension in which to escape the
crowded room and carry on the inner dialogue. In this sense, music makes
writing in a classroom more natural than it is otherwise.
(Myers 1996: 102)
Como profesor o como autor, se puede ofrecer una informacin genial a las
personas, utilizar el lenguaje correcto, con todas las exposiciones y tcnicas
correctas, pero el mensaje que se est transmitiendo es slo una de las
mitades. En el otro extremo hay un receptor que tiene que estar
preparado para recibirlo.
(Dilts y Epstein 1997: 62)
The ability to recognise patterns requires both memory and access to many
subconscious neurological brain pathways and biological systems. Our
ability to recognise patterns and imagine them modified by action is the
essence of spatial imagination and the key to human ascendancy. Music
calls on all of these functions. This research seems to support the thesis that
studying music, or even just listening, affects the way we think and actively
enhances abstract thought.
(Robertson 1996: 19)
Level: intermediate
Time: two sessions, 30 minutes each day.
Purpose: to pay attention to what learners can understand, to use
English creatively
Materials : a modern song
Procedure : students listen to the song and copy down as many words
as they can. Then, in groups of three, they share the words they have
understood. Finally, they have to invent a text of seven sentences by
using the words they have copied. They can repeat their words as many
times as they want and even add some others if necessary. Once they
have finished, they read it aloud to the whole class and the teacher
collects all their texts.
Level: intermediate
Time: 40 minutes
Purpose: to connect melodies to movies, to remember significant
moments of the movies, to use English creatively.
Materials : central tunes of well-known movies
Procedure: Write the title of five well-known movies and asks students
to listen to different musical extracts. They have to match the tunes with
the movie. Students comment on this task. Working individually
students write a relevant sentence for each movie. Then, students sit in
groups, they choose five sentences and use them to write a poem.
Remind them that they should use connectors to join the different
sentences. While they are writing their poems, soft instrumental music
can be played in the classroom.
Students are asked to share their past experiences. Many students felt
willing to participate in this oral exchange. They mainly commented on
how relaxed they felt at that moment and that they would have liked to
stay in the place they were imagining. They also thought that the music
and the guiding questions helped them to visualise with their minds eye
their past experience. They were interested in what their classmates
were telling as their dawn experiences were quite different.
Level: intermediate
Time: 10 minutes
Purpose: to activate students schemata
Materials: instrumental music that evokes the context of the text
Procedure:
Option A. Students read the title of the text and listen to the
music. The teacher asks the learners what they expect the text
to be about. Music is a means of non-verbal communication,
and therefore, less precise as it cannot name things or actions.
It is said that music involves the right hemisphere of the brain,
while the left hemisphere is generally in charge of language.
Music gives holistic information; it treats the text as a gestalt
and provides us with a non-verbal introduction to the general
topic it is about. As an example, we can easily imagine a crime
happening when we hear a mysterious background music.
Happy Birthday
Level: intermediate
Time: 30 minutes
Purpose: to activate students schemata and to help them to develop
their social competence
Materials: music that evokes possible answers to the questions posed
Procedure: Teacher tells students to listen to certain musical
fragments in order to answer the following questions that will help
them to imagine what happened in this story. Students do this part
individually.
Step 2: Students tell their personal story to the other members of the
group. They have to agree on one single story or to create one by
taking ideas from all the members of the group. Afterwards, they have
to tell their story to the rest of the class. Each member of the group has
to say at least one sentence.
Bibliografa
UN ASPECTO DE LA INTELIGENCIA
INTRAPERSONAL: LA AUTOEFICACIA EN EL
AULA DE INGLS
1. Introduccin
The core capacity here is the ability to notice and make distinctions among
other individuals and, in particular, among their moods, temperaments,
motivations, and intentions...the interpersonal intelligence entails the
capacity of the young child to discriminate among the individuals around
him and to detect their various moods...interpersonal knowledge permits a
skilled adult to read the intentions and desires even when these have been
hidden of many other individuals.
Es, pues, la capacidad para entender a las otras personas, cules son
sus motivaciones, sus sentimientos, su forma de trabajar
individualmente y con los dems, en grupo. El profesor debera
facilitar esta capacidad entre sus alumnos, por ejemplo, creando una
atmsfera positiva en la clase. La inteligencia intrapersonal puede ser
considerada como la capacidad de formarse un modelo ajustado y
verdico de uno mismo y de ser capaz de usar este modelo para
desenvolverse eficazmente en la vida (Vila-Sanjun 1999:7).
Checkley (1997:12) desarrolla esta idea:
Intrapersonal intelligence refers to having an understanding of yourself, of
knowing who you are, what you can do, what you want to do, how you
react to things, which things to avoid, and which things to gravitate toward.
1
Adult Multiple Intelligences
porqu, cmo y cundo usar las estrategias, es probable que tengan
ms confianza en que si se esfuerzan alcanzarn el xito.
El dilogo interno
Esta estrategia consiste en reafirmarse a s mismo ante una tarea
difcil, hacindose afirmaciones positivas del tipo puedo hacerlo
o lo voy a hacer bien para ayudarse a superar esas tareas que le
suponen un reto. Esa reafirmacin puede ayudar a los alumnos a
hacer mucho ms de lo que haban pensado que podan hacer,
aunque no puedan hacer la tarea perfectamente. Usar el dilogo
interno ayuda a reducir la ansiedad y a mejorar la autoeficacia.
Sobre todo, es una estrategia muy necesaria para los alumnos que
tienen una autoeficacia negativa.
Establecimiento de objetivos:
Esta herramienta, como indica Drnyei (2001:22), tiene una
funcin motivadora muy importante para el alumno: el hecho de
establecer objetivos lo impulsa a querer actuar, a que su
motivacin aumente y a que, como consecuencia de lo anterior,
sus creencias de autoconcepto y autoeficacia sean ms positivas.
Establece las caractersticas de los objetivos que funcionan mejor
(Drnyei 2001: 83-84):
7. Conclusin
8. Aplicacin Prctica
Level: Intermediate
Time: 25 minutes whole class
Purpose: to work with the verb can / will be able to / could and to
create awareness of negative beliefs.
Materials: None
Procedure: Each student makes a list of tasks related to learning
English that s/he thinks s/he cant do or cant do well enough (I cant
pronounce correctly... I cant learn the vocabulary... I cant
understand the tapes...). In pairs, they read their lists to their partner.
Then, the teacher asks them to rewrite the lists substituting can for
will be able to (I will be able to pronounce correctly...). Then they
read the new list to their partner.
Level: Upper-intermediate-advanced
Time: Whole class
Purpose: To practise would have done / wouldnt have done and to let
students realise that they have their own opinions and that these are as
acceptable as others
Materials: A short story
Procedure: Students read the story individually and write down three
ideas about what they would/wouldnt have done (I wouldnt have
gone to that strange place... I would have stayed with my friends...).
They work in pairs, sharing their ideas with the partner. The teacher
asks each pair to read out their ideas to the rest of the class. All the
stories will be different.
Variation 1: Once they have shared their opinions with the partner,
ask them to act out the new story in front of the class.
Level: Beginners
Time: Whole class
Purpose: To learn vocabulary about the house and furniture and to
give them autonomy in their learning process
Materials: A blank map of a house showing only the walls dividing
the different rooms
Procedure: The teacher writes on the blackboard many words related
to a house: rooms and furniture (bedroom, bathroom, kitchen, living-
room, sofa, bed, armchair, fridge, lamp, bath, night table, chair,
table...). Then, students are given the map. In each room they draw
what they think is important to have in a house. They may try to find
the words for the things they have drawn on the blackboard in order to
write them down on their maps. If they dont know the meaning of a
word they think is important, they can ask the teacher about it. At the
end, each student will have in his/her map the vocabulary s/he
considers important. Ask them to make a list of these word in his/her
vocabulary booklet.
Interpersonal Intelligence
____ 1. I am often the leader in activities.
____ 2. I enjoy talking to my friends.
____ 3. I often help my friends.
____ 4. My friends often talk to me about their problems.
____ 5. I have many friends.
____ 6. I am a member of several clubs.
Intrapersonal Intelligence
____ 1. I go to the movies alone.
____ 2. I go to the library alone to study.
____ 3. I can tell you some things I am good at doing.
____ 4. I like to spend time alone.
____ 5. My friends find some of my actions strange sometimes.
____ 6. I learn from my mistakes.
By Christison, M.A. 1998. An Introduction to Multiple Intelligence Theory and
Second Language Learning. En J. Reid (ed.) Understanding Learning Styles in
the Second Language Classroom. Englewood Cliffs, NJ.: Prentice Hall
Bibliografa