Transcript Lesson Planning - Sabine Mendes Moura

Lesson Planning
Universidade veiga de almeida
English graduate program
Professor sabine mendes (Ms.)
Shifts in thinking about pedagogy and
classroom management (Wright, 2006)
EFFICIENCY – SIGNIFICANT LEARNING
ORDER – OPPORTUNITY
CONTROL (obedience) – CARE (responsibility)
What does a lesson involve? (Penny
Ur)
Metaphors
• Lesson Art Design (Thornbury, 2003)
• Lesson schemata, scripts, and images
Questionnaire: Metaphors
1 In your opinion, what should a good English class be like? Choose
one of the following:
a) a story e )a song I) a play
b) a symphony f)a poem j )a sonata
c) a film g )a football/tennis/basketball match, etc. k) or … ?
d a meal h )a dance
2 Why? What does your choice have in common with a good class?
For example: (if you chose a football match) 'Because in a good class
there's a break. ..'
Lesson art design
What is it that teachers in training don’t know, or can’t do, which
makes lesson planning such a chore? A likely source of difficulty is
their lack of a lesson blueprint – that is, an internalized
representation of a lesson’s overall shape that acts as an exemplar
for the generation of individually-tailored lessons. It has been
shown that, when planning, experienced teachers draw on lesson
schemata, or mental scripts (Shavelson and Stern 1981), and that
these provide a kind of template on which to map lower-order
planning decisions. These mental scripts are often conceived in
visual terms as lesson images. Westerman (1991: 298), quotes one
experienced teacher as saying , when asked to describe his planning
decisions: ‘I have a vision. I sort of know exactly how it’s going to
go. I’ve imagined what will happen.’ (Thornbury, 2003, p.4)
(Moura, 2005) – Lessons and
screenplays
A community course (Humanist Movement – 2003/2006) – Future Builders.
• 6 teachers with very different formation landscapes.:
Teacher 1 – teacher’s training at a free course. First experience in the classroom.
Teacher 2 - recently graduated in Letras,. Had some experience working with school support (private
classes) at home and had a scholarship for Linguistics research.
Teacher 3 - Graduate Program (Pós-Graduação) in Applied Linguistics, basic formation in Letras,
teaching at a private bilingual school (elementary) and English courses.
Teacher 4 – Graduate Program (Pós-Graduação) in English (on going at the time of the research), basic
formation in Letras, working at na in-company course.
Teacher 5 – civil servant, complete course at a language institute. No previous experience in teaching.
Teacher 6 – starting a new college major, he decided to change from Arts to Letras after his experience
in the community course. First experience teaching.
• 3 coordinators from different “branches” of the course:
Coordinator 1 – works at a private technical high school, no higher education.
Coordinator 2 – experienced as a volunteer, teaching in different community courses. Unfinished major
in Historyr.
Coordinator 3 – Majoring in Psychology. Na ex- student from our French course
Screenplay concepts – “dead time”
• A screenplay is the written form of any
audiovisual project (Comparato, 2002) – Lesson
plan.
• Presented as “parts from the film that the
producer cuts, that have no action, that can be
disposed of from a commercial point of view”.
• Brushing teeth, going to the bathroom.
• The questions: “Do you feel it in your class? Do
you think they have a function?”
Screenplay concepts: Dialogue
• Presented as “the way characters are built in
a movie. The way sequences of speech are
built to tell a story with lines that, many times,
do no sound spontaneous” .
• The questions: “How do you think about what
to say in the classroom? Do you worry about
‘saying beautiful things’ or ‘causing a certain
effect’?”.
Screenplay concepts: Narrative
• Presented as “cinema tricks to tell a story in an
interesting way. What makes us want to watch
that story”.
• Parahyba Mulher Macho (YAMASAKI, 1990)
• The questions: “How do you include your
student’s narratives in the classroom? How do
you value them?”
Dead time for the teachers
• Three teachers have identified those moments as negative (P1, P3 e P5),
two, as something natural (P4 e P6) and one as something negative that
can be interesting for the teaching-learning process (P2).
• “We get worried about the class dynamics, not having the guy think:
‘What am I doing here?’” (P2).
• “When you ask something and nobody answers, that silence prevails. I say
something, repeat (what I have just said)... I don´t allow the silence to stay
for too long” (P1)
• “I try to look for a card up my sleeve not to have a boring class, not to
have this kind of free time. But it always happens. It happens, there is no
way to prevent it and, when it does, you need to have flexibility” (P3).
• “I get ...like...a bit nervous, no, tense, I know that the dead time is
happening and I get anxious about not being able to search for interest in
those who are not interested. There, I think, there is a lack of resources
from our part, because, if we had a bookj, I could ask the student to do an
alternative activity, but we have no alternative” (P5).
Dead time for the teachers
•
“ (If we let) classes be transformed into a megalomaniac, pyrotechnical shows –
which is what the courses are – maybe it does not permit the exchange of living
knowledge”(P3).
•
•
“breathing before going on” (P6).
“moments for reorganizing, getting the material, seting the cellphone’s alarm for
the end of the class” (P4)
“It seems to me that when changing subjects teachers have this moment of
relaxation” (P6).
•
•
“I feel some pressure on the student’s part on the issue of producing always and,
then, I have to ‘win the student’ for a reflection. If I do not pay attention I will
board on whatever the students want. If he says he wants me to clap my hands
tem times, I will clap my hands tem times. Sometimes, because I am tired”.
Lesson preparation
Varying lesson components
Evaluating lesson effectiveness – what
is your priority order?
1. c) The class seemed to be learning the material well.
2. g) The learners were engaging with the foreign
language throughout.
3. b) The learners were attentive all the time.
4. d) The learners enjoyed the lesson, were motivated.
5. a) The learners were active all the time.
5. e) The lesson went according to plan.
7. f) The language was used communicatively throughout.
Lesson Management
The format of a lesson plan (Brown,
1998)
•
•
•
•
Goals
Objectives
Materials and equipment
Procedures (Warm-up, presentation,
development, closure)
• Evaluation
• Extra-class work
• Accomodations/Teacher’s Reflexion
Study Case 1
An experienced English teacher, working with the communicative
approach in a Brazilian public school, is teaching sixth graders (11-1213 years old). She had only two classes with the group, but already
has some pieces of information to guide her next planning. There are
thirty students in class and most of them have never studied English
before. Those who have some contact with the language seem to be
addicted to American songs and like to review lyrics’ translations.
One of the students was transferred from another school in which
the English classes were more advanced. He seems to be a bit bored
with the vocabulary on appearance and personality traits the teacher
started presenting. Trying to speak English as much as possible, the
teacher observed that the students are resistant to using the
language themselves and have some kind of “blockage” to listening
comprehension, even when exposed to the simplest of sentences
(such as “Are you intelligent?”). She believes this resistance is
psychological and related to their fear of committing mistakes in front
of their colleagues. Her next goal is to “build her students’ selfesteem regarding language acquisition” and the punctual linguistic
objective is to “make students talk about likes and dislikes”.
Study Case 2
Tuesday 3 June
Did another discussion activity - disaster! Changing the way I usually group students didn't work. I wanted
to have them mingling, so that I had people who normally don´t speak participating more. But, as usual,
Paolo took over and imposed his ideas on the rest of his group. Prin sulked and refused to contribute. Petra
and her group mostly stuck to the discussion but kept breaking into mother tongue. Anka and Lotty as
usual said very little. What can I do? I feel I am not helping them to use English. I am getting demotivated
with this. Today, they were supposed to watch a short scene of “Gossip Girl” and discuss what they
understood, presenting their findings to the rest of the class.
Thursday 5 June
Reflecting on the problem of discussion work - maybe it isn't a problem of group formations, since trying
new groupings didn't work either. Maybe instead it is that students don't know how to discuss topics in
groups, as there is a lack of co-operation and not all of them participate. I need to explore this. Today, they
were supposed to read the headlines of three top newspapers in the U.S. – all revising the country’s
political agenda after Obama’s massive loss – and share opinions on the topic.
Friday 6 June
Had a very useful chat in the staffroom. Joan advised me to look at group roles such as facilitating,
encouraging, co-operating, attention seeking, harmonizing etc. Jo suggested a couple of books. I feel more
motivated now.
Tuesday 17 June
Tried some activities on group roles. I think they worked. I told class we would try out some new ideas for
the way we do group work and they seemed receptive to this. Next lesson I will select an observer for each
group and give them something to fill in about the actions that take place, eg helping, contributing,
arguing etc. Then we'll use this to establish some rules for making discussions more effective and getting
everyone to participate.
Case study 3
An inexperienced English teacher wants to start presenting more
complex texts to his students. He decides to start by Romeo and
Juliet, using excerpts from the balcony scene. He believes that being
in touch with English literature will encourage his students to learn
more vocabulary and “appreciate language’s poetry”. The lesson
plan starts by asking the students – who are 15 to 18 years old –
about love: “What is their concept of love? Do they believe in it or
not? How do they imagine love was seen in the past?”. After that,
students have to represent in drawing the concepts they have come
up with. Then, the teacher divides the class in groups of three and
students have to recognize known words in the Shakespearean
excerpts. Only after that, they will start – with the teacher’s
assistance – trying to understand the meaning of scenes and, finally,
having to order the pieces among themselves. Their last activity
would be to write a short scene trying to adapt the text’s reality to
the contemporary world.
Some other ways of thinking about
planning
Aline’s story (Allwright &Hanks, 2009:191)
“Why am I so irritated that I have to face the 807
group?”
- should/must regarding the roles of teachers
and students in
Exploratory Practice.