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DOCUMENT RESUME

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AUTHOR Hammond, Patricia, Ed.; Garfinkel, Alan, Fd.TITLE Recipes for Teaching Foreign Languages in Oklahoma.TNSTITUTION Oklahoma Curriculum Improvement Commission, Oklahoma

City.; Oklahoma State Dept. of Education, OklahomaCity.

SPONS AGENCY Office of Education (D!?EW), Washington, D.C.PUB DATE 70NOTE 3Fp.

EDRS PRICEDESCRIPTORS

EDRS Price MF-$0.25 HC-$1.85Audiovisual Aids, *Classroom Materials, ClassroomParticipation, Educational Problems, EducationalTheories, French, German, *Instructional Materials,Instructional Program Divisions, *Languageinstruction, Latin, *ModIrn Languages, ReferenceMaterials, Spanish, Teaching Methods, *TeachingTechniques

ABSTRACTThis booklet of instructional materials compiled

from foreign language workshops incorporates a variety of suggestionsto improve classroom instruction in 'French, German, Latin, Spanish,and other languages. A discussion of theory ler.%s to specificcontributions to methodology in each language. Emphasis is placed onlinguistic games, audiovisual materials, and several teachingproblems in each language. A list of selected references is included.(RI.)

r.

-Ncci RECIPES FOR TEACHING

FOREIGN LANGUAGES

IN

OKLAHOMAPrepared by

Oklahoma Foreign Language Teachers

Edited by

Patricia RammondCurriculum Specialist for Foreign Languages

Oklahoma Slate Department of Education

and

Alan GarfinkelAssistant Professor of Education

and Foreign LanguagesOklahoma State University

under the auspices of

Oklahoma Curricuhtm Improvement CommissionW. D. Cart, Chairman

Clifford Wright, Executive SecretaryMary Ann Wood, Assistant

STATE DEPARTMENT OF EDUCATIONScott Tuxhorn, Superintendent

Ica

4

1!1

FOREWORD

Oklahoma educators have always felt that the strongest factor in theeducation of Oklahoma students is the Oklahoma classroom teacher.

Good materials, good texts, and electronic media are essential to successful teaching in all disciplines; however, the "magic ingredients" are theteaching personality mid the techniques developed by tie classroom teacherwhich adapt text and materials to the peculiar needs f each special groupor individual.

Recipes for Teaching represents the sharing of those special techniquesdeveloped in the classrooms of our Mate for q.t. students. It id our hope thatthis sharing of teaching experiences will result in an increasingly effectiveforeign language program.

Scott TuxhornState Superintendent of Pub*, Instructio.

iv

ACKNOWLEDGMENTS

The materials for Recipes for Teaching were collected from those pre-sented in workshops which were conducted in six state colleges: Northeast-ern, Southeastern, Central, East Central, Northwestern, and Southwestern.

Editing was done by a committee working in cooperation with the Okla-homa Curriculum Improvement Commission under the auspices of theOklahoma State Departmert of Education.

We are especially grateful to the teachers who served ae chairmen ofthe panels which discussed teaching tezhniques at the various workshop:

MRS. ADDIS MOORS, ChairmanDepartment of Foreign Language.Okmulgeo Senior High School

MRS. WAYNI FELLOWSLatin TeacherHugo SW..4 High School

MRS. PATRICIA GOODMAN, ChairmanDepartment of Foreign LanguagesPonca City Senior High School

MISS COLLUN KtYLtHENSpanish TeacherEdmond Senior High School

MRS. Doirotsiv SHIRLEYSpanish TeacherPaul. Valley Senior High School

MRS. Mumtaz, Donut, ChairmanDepartment of Foreign Language.Eisenhower Senior High SchoolLawton, Oklahoma

We wish to express appreciation, also, to Dr. Clifford Wright, Director ofCurriculum, State Department of Education and Executive Secretary ofthe Oklahoma Curriculum Improvement Commission, and to Mrs. MaryAnn Wood, Assistant Director, Curricuinm Division, for their help andencouragement in our workshops and in the publicatior. of this booklet.

Our thanks go also to the foreign language teachers who submitted these"recipes'. Without the ent'iusiasm and dedication of these teachers, whoare its authors, the publication of Recipes for Teaching rout(' not havebeen accomplished.

CONTENTS

FOREWORD iii

ACKNOWLEDGMFNTS iv

CONTENTS

I. This We Believe 1

II. Theory into Practice 2

III. Favorite Techniques of Foreign Language Teaching

1. French 3

2. Getman 9

3. Latin 13

4. Spanish 11

6. All Languages 2"1

1V. Selected fteferences

1. Materials 30

2. Prof etsional 31

V. Evaluation 32

vi

EDITING COMMITTEE

MRS. MARY ANN WOODAssistant DirectorCurriculum tivisionState Department of Education

DR. ALAN CIARFINKELDepartment of EducationOklahoma State University

AVA Lou JOHNSON3ranite Public SchoolsGranite, Oklahoma

ALICE ORt00Wagoner Public SchoolsWagoner, Oklahoma

FELICE FELDMANPutnam City Public SchoolsOklahoma City, Oklahoma

KAY MORRISEl Reno Public SchoolsEl Reno, Oklahoma

LOYCE LAMBPurcell Public SchoolsPurcell, Oklahoma

CHARLES HENKEHarrah Public SchoolsHarrah, Oklahoma

litmus MoonOkmulgee Public SchoolsOkniulgee, Oklahoma

Smarr JONESLawton Public SchoolsLawton, Oklahoma

MICAH. LAKEMidwest City Public SchoolsMidwest City, Oklahoma

PAIRKIA GOODMANPonca City Public SchoolsPonca City, Oklahoma

SUiAtttll S. BRANCHBartlesville Public SchoolsJanesville, Oklahoma

FLoPENct TvcitutDuncan Public SchoolsDuncan, Oklahoma

MRS. PATRICIA HAMMONDCurriculum Specialist

for Foreign LanguagesInstruction DivisionState Department of Education

CONTRIBUTORS

RUTH SALWACHTIRWaynoka Public SchoolsWaynoks, Oklahoma

FRANCES MAYTahlequah Public SchoolsTahlequah, Oklahoma

VIVIAN WATKINSCoalgate Public SchaubCos !gate, Oklahoma

TED WENTWORTHOklahoma State UniversityStillwater, Oklahoma

VELMA BoaBartlesville Public SchoolsBartlesville, Oklahoma

AUTUMN STONEREnid Public SchoolsEnid. Oklahoma

WANDA WATKINSMoore Public SchoolsMoore, Oklahoma

BEATRICE NOTLRYTulsa Public Schools"Asa, Oklahoma

PATRICIA HAMMONDState Department of EducationOklahoma City, t)klahorria

M twat° DanaLesion Public SchoolsLawton, Oklahoma

COLLEEN KreitmanEdmond Public SchoolsEdmond, Oklahoma

LOLA W000Sailing Public SchoolsSoiling. Oklahoma

vii

DOROTHY SHIRLEYPaull Valley Public SchoolsPaul, Valley, Oklahoma

VntointA BroomWewoka Public SchoolsWewolcs, Oklahoma

FERN Him:11'ffChecotah Public SchoolsChecotah, Oklahoma

JO ANN WALKERartlesville, Public Schools

Bartlesville, Oklahomo

OLGA CRESPINTulsa Public Schools'Wes, Oklahoma

MooreBASS

ooze Public SchoolsMoore, Oklahoma

ROSY HATFIELDStilwell Public SchoolsStilwell, Oklahoma

MARILYN MOORS LIVINGSTONCoyle Public SchoolsCoyle, Oklahoma

MAINSARST CARTERBlackwell Public SchoolsBlackwell, Oklahoma

DOROTHY STACYTahlequah Public SchoolTahlequah, Oklahoma

DOROTHY COOKMoore Public SchoolsMoore, Oklahoma

MRS. WAY NE FELLOWSHugo Public SchoolsHugo, Oklahoma

HSLEN CARNSY, SupervisorForeign LanguagesTulsa City SchoolsTulsa, Oklahoma

The editors did not list the name of each contributor with the item con-tributed because some of the items that appear are combinations of severalteachers' work made by the editors for the sake of economy and efficiency.

Artwork is by courtesy of the Foreign Language Department, OklahomaState University. Special thanks are given to Harold Raley and MarshaShaw.

pabileation ts made_ possible by funds trom TiOe V. Section IN et the tiernentary and SecondaryAce et INS through the State Dey.arDnent et Education.)

A STUDY OF THEFORF'- I LANGUAGE PROGRAM IN OKLAHOMA

PHILOSOPHY

This we believe--

Every child should have the right to experience learning in a foreignlanguage, because the child's world is the entire world. To deprive a childof this right is to deprive him of world citizenship. "For no language isthe exclusive property of any group or society. But, like the stars, languagebelongs to everyone.'

The knowledge of a foreign language is one of the best keys to theunderstanding and appreciation of the peoples of the world. For this reasoneven a few years of study of a language can be excellent preparation forintelligent citizenship; no language study, if seriously undertaken, can bewithout value.

The understanding of a foreign language and culture provides a solidbasis for the study of world history and literature, both classical andmodern. "Enough foreign language study to create an awareness of of rignorance could be an instrument in the increase of understanding."'

Instruction In a foreign language should begin at the ear rest possibleage when continuous progress in the language can be assured.

Foreign language instruction should include emphasis on all skillswhich will lead toward the attainment of mastery of the language: listen-ing, comprehension, speaking, reading, writing, and culture of the peoplewho speak the language natively.

Personalities, objectives, and teachinglearning situations vary toogreatly for any single method of teaching or learning a foreign languageto be superior to all others.

Nelson *oaks. Tete tht.t. In hb *darts* "lbe *nig end the Lander &trend et the berth-Nest Conference e4 Portly' Lessite Tex-here.

*114Kieeie oWeet In bet &dates. `ineetint tantseees and taternetIonel thnletetanetinr dellyetedat the Animas Fteeftn Untrue* resebett Posectattett.

2 Recipes For Teaching Foreign Languages in Oklahoma

THEORY INTO PRACTICE

Recipes for Teaching is a unique production. While hundreds of booksare written by professors of education and language-oriented administra-tors, few, if any, have been written by people who teach foreign languagesday it and day out, every day of the academic year. That is what Recipesfor Teaching is, an exchange of ideas by fellow professionals and, evenmore so, a welcome to those about to enter the language teaching professionin the form of a most useful gift.

It was the editors' job to make this body of information fit within thelimits of space and organization that must be observed by any readablepublication. Most of the material is the direct contribution of practicingteachers who, when called upon to give time and effort for the bettermentof the profession, responded generously and enthusiastically. None of thecontributions has been specifically signed; all are written by Oklahomateachers. This response is an act of professionalism in its truest sense, andall of those who contributed to the collection are to be warmly commended.

The editors found it convenient to classify the recipes in the collectionin accordance with the language taught by the contributor of each recipe.That is why Recipes for Teaching has a French section, a German section,etc.; however, there is no reason why most of the ideas given in onelanguage cannot be adapted for use in anothei. In fact, the new teacherwho reads only ideas from teachers of his own second language tvill bedenying himself most of the value of the collection.

Teachers of nearly all the foreign languages taught in Oklahoma madecontributions to Recipes for Teaching. They were teachers of every imagin-able methodological persuas!on. It was not the editors' purpose to addlabels and commentary in order to sort techniques reflecting one kind ofmethodology from those reflecting another. This is not to say that theeditors have no methodological bias. The editors are, as one intervieweeon the NBC Today show put it, "extreme centerists". That is to say thatthey are simply not interested in anything but a balanced curriculum whichgives appropriate concentration to all four foreign language skills: listen-ing, speaking, reading, and writing. If a given idea does not suit thereader's own methodological biases, he should examine It for Its adaptivepossibilities Chances are good that a little time spent in this way willhelp the reader devise his own new ideas which may be published in asubsequent edition of Recipes for Teaching. It is essential to Join withother professionals, in order to achieve all four goals of foreign languagebehavior. Today's professional does not waste his time with petty bickeringthat should have been dropped ten years ago. Only one thing must concernus as language teachersthe ability of our students to co:rmunicate.

.A .ip(incil 31Ame /1 /

4 Recipes For Teaching Foreign Languages in Oklahoma

grench

GRAB BAG DRILL

I bring an assortment of things such as pens, pencils, cards, booklets,pins, etc. into the class with a paper bag. I then go around the class identify-ing the item and asking the student to say he's put it in the bag. A scriptwould read like this:

Teacher: "Le papierMettez le papier dans le sac."

Student: "Je le mets dans le sac."

I repeat this procedure for various pronoun forms and students. Thisdrill requires verb form and pronoun usage practice.

THE VERBAL DANCE

The very essence of life is rhythm. All performancesinging, dancing,teaching, learning (all having a common ingredient, DISCIPLINE)isaccomplished through the medium of rhythm. Timing makes it right forthe STUDENT, right for US. We are lulled to drowsiness or excited towakefulness by the rainby the brush or the boom of the cloud drum. Andthat great flash of illumination brings us up sharp.

I like that being brought up sharp. And so do the students. Someone isdemanding attention. SOMETHING is being expectedOf MEOf THEM.The unspoken challenge to team work is met with sheer spontaneity andwe are caught up in a learning recipe.

Fortunate is the teacher who senses the mood cf his studentsIN TIME.There's no doubt about it, mood is contagious. It sets the stage for thedrama of learning. The teacher, the director, is quick to sense a wrongsetting. It would be deadly to start throwing the furniture around; SO, hemaneuvers the setting into rightnessinto receptivenesswith a little"crazy rhythm."

We are somewhere in a beginning French class. Numbers have beenintroduced. So what? What's so exciting about numbers? The followingpoem is familiar enough that we can do our dance with it.

Students: Un, deux, trois,Teacher: Nous irons au bois;

Students: Quatre, cinq, six,Teacher: Cueillir des cerises;

Students: Sept, huit, neuf.Teacher: Dans mon panier neuf.

Students: Dix, onze, douze,Teacher: El les seront toutes rouges.'

Juliza Harris and Helene Monod-Cassidy, Petite' Conversations, Boston, D. C. Heath Co., 1958, p. 11

Stress that the pause after each number line must be no longer than thepause after each count. YOU show them how you can pick up YOUR lineand they will play it back for you. Switch the lines. Work by rows or bypairs of students. Students will whip each other into line.

Try a ballet with possessive adjectives. The prelude should be a briskreview of this troupe. Call a subject pronoun, indicate the row which isto name (without loss of rhythm) the troupe belonging to it. Je - mon,ma, mes; Elle - son, sa, ses. It is urgent to keep in step. IT MAKES THEM

French Section 5

THINK! An example of what is expected is necessary. "Je demeure avecmon frere, ma soeur, et mes parents " Name another pronoun. II, thestudent using it must use a different verb and possess different things,but must use all three possessives. "H regarde son chien, sa maison et sesautos." He then names another pronoun and presents the next memberby a nod, a curtsy or an original movewhich can be genuinely enter-taining.

The poem "Quelle Heure Est-il?" can be used effectively as a verbaldance. Even the most verbally clumsy can learn to trip the light fantastic.

Do a turn with prepositional phrases. Call it the "Spice Dance". Fortruly prepositional phrases are the spice of sentence life."Est-ce que ismule t.. t sur la table pros de la porte?"Starting with the last word inthe sentence, work backward, as in pattern drill, until the sentence ispieced together well. Manage to repeat the phrases as units twice or more.Repeat the sentence again and ask for an answer. The students love thisresponse: "Non! C'est ridicule. La mule n'est pas sur la table. La tablen'est pas pros de la porte. Elle est levant la carte."

The sense of rhythm helps put the sound combinations properly in theear, which makes it possible for the vocal facilities to operate effectivelyon recall, which promotes practical use of acquired vocabulary, whichprompts the student to read, which finally awakens a keen desire to WRITEthe language.

I allow students to come to the French room at noon to study and prac-tice. They have instituted a program of their own of learning to writethe language. Those who speak especially well are chosen to give dictation.I am impressed by their enthusiasm; and enthusiasm is impossible withoutrhythm the "moving" ingredient.

Nothing so lets us be ourselves as rhythmic performance, be it self-dis-covered or friend-directed. And nothing so "jells" the students in a foreignlanguage class as feeling confident that their TEACHER is their FRIEND.

Quelle heure est-il?POEM.;

LE MATIN

H est une heure, mais it fait nuit.Il est deux heures; la lune luit.Il est trois heures; le ciel est noir.Il est quatre heures; on commence a voir.Il est cinq heures; le coq crie.Il est six heures; le soleil brille.Il est sept heures; l'autobus passe.II est huit heures; on va en classe.Il est neuf heures; lisez la lecon.Il est dix heures; ah! recreation.II est onze heures: j'ai grand appetit.On va dejeuner; it est midi.

L'APRES MIDIIl est une heure; c'estIl est deux heures; on etudie.H est trois heures; de l'ecole on sort.Il est quatre heures; on fait du sport.

LE SOIRIl est cinq heures; it faut rentrer.Il est six heures; on va diner.Il est sept heures; voila le soir.Il est huit heures; on fait les devoirs.

LA NUIT

II est neuf heures; bonsoir famille!Il est dix heures; les dtoiles brillent.Il est. onze heures; is lune se leve.11 est minuit; le jour s'acheve.

Evelyn Popper and Suzette Selsby, Pollens Tont de Suite, York. Chilton Co.. 1962, p. 48

6 Recipes For Teaching Foreign Languages in Oklahoma

TEACHING PARTS OF THE BODY

This past summer I was a participant in an EPDA Institute in France.In addition to two weeks of touring the other regions of "la belle France,"we attended classes for eight, weeks at the Lye& de Grand Air in Arcachon,a summer resort fifty kilometers south of Bordeaux. During the courseof our stay, several of us became very good friends with some youngArcachonnais teen-agers who were students, either at the lycee in the"classes terminales" or at various universities, such as the Universite deBordeaux, de Paris, Oxford, etc. On various occasions, they taught ussome of the songs they sang. A few of them happened to be medical stu-dents at the Universite and they taught us a particularly delightful onesung by their "comrades", appropriately entitled "le Macchabee" (the"Cadavre"). The words concern an ill-fated cadaver, who is being dulydissected in an amphitheater (operating arena), to the edification andrelish of the zealous spectators (who are, of course, medical students).One can certainly appreciate the resourceful capacity of these ardent medi-cal minds, and can therefore imagine some of the eloquent strains proposed,especially with the use of "Tsouin! tsouin!"a delicious, onomat.apoeticword which conjures up the Chop! chop! of the blafie dissecting the haplessmacchabee. After therefore having "cleaned up' some of the verses, Idecided to use the song in my classes to teach the parts of the body (tothe delight of the students). The verses are obviously innumerable, de-pending on how many parts one wishes to chop off, much the same asl'Alouette". And when singing the song in class, it is most efficaciousto point out very demonstratively the parts being chopped.

We happened to be in Frar.ce at the time of our first three astronauts'moon-landing, and it was most interesting to observe it through Frencheyes. During one of our more creative moments, we wrcit2 our own stanzasto "le Macchabee", this time appropriately entitled "En Honneur desAstronautes", which I also use in my French classes. One may, of course,alter the words to fit our subsequent landings, but the original is hereinenclosed. At a time when everyone appears to be screaming for "rele-vancy" in the classroom, this is only one attempt to appease such advo-cates. I even turn my students loose, and suggest that they make up theirown verses, embellishing to their heart's desires. I never cease to beamazed at the inventive minds of the little monsters in our classrooms!

Le Macchabccea

iAll IIIIIIMMI III =4111/4 NMI IN IIIIIIIIMMIIIII 111111111111111111=11111111M111111 III I/WOW 1111111.01111111/A1111111=1111111111111111r11111 INfoLW ...Jr- =I r^ or aim =sr mc.....21 Al.

Dans un am- phi - the -titre Dans un am- phi - the -titre Dans un am-

III M=M MI 4 semI I NW'.W A = 111AWI- 1111.11 i UMW. =If IIMMI. IMMO MI III filLIPAOM Mr-W-11111111 =II IMINV,1== NM LIMP

7 AMI1W711r1f11M/11=111 0phi - the -titre phi -the -titre, phi- the -titre, phi- the -titre Tsouin Tsouin

1. Dans un am- phi - the -titre,Dans un am-r hi-the-atre,Dans un arn-phi-the-titre, phi - the -titre, phi-the-fare, phi- the -titre. Tsouin!

Tsouin!

2. Y a-vait un mac-cha-bee, (three times)mac-cha-bee, mac-cha-bee, mac-cha-bee, Tsouin! Tsouin!

3. On lui cou-pa les pieds, (three times)pa les pieds, pa les pieds, pa les pieds. Tsouin! Tsouin!

4. On lui cou-pa les jambes, (three times)pa les jambes, pa les jambes, pa les jambes. Tsouin! Tsouin!

(Continue using the various other parts of the body, always repeatingthe last three syllables for the chorus.)

Back toBeginning

French Section

8. Et sur ces en-tre-faits, etc.9. Le mac -cha-We disait,

10. Ah! e' qu'en s'em-bête ici . . .

EN HONNEUR DES ASTRONAUTES (same tune)

1. Dans une toute petit capsule .

2. Y avait trois astronautes . . .

3. S'en allant vers la lune . . .

4. Le petit L-E-M descend . . .

5. Conrad a fait dodo . . .

6. Les autres recontraient . .

7. L'homme de la lune qui a dit .8. Soyez les bienvenus . . .

9. Ah! c' qu'en s'embete ici

ENVIRONMENT FOR LEARNING

Make the Language Room a pleasant setting for learning. If possible,have appropriate pictures and realia. Each month I try to have meaningfulbulletin board decorations to create conversation interest. For exampleSeptember was the "Welcome back to school" monththe rentreeandalmost anything dealing with young people's classes, clothes, books, sports,music, extracurricular activities, etc., can be used to stimulate a simpleconversation.

October has been sports month this year and we used French and Amer-ican sports. I now have a Come d' Abondance (Horn of plenty) withfruits, vegetables, nuts, and leaves from which we are getting a food vo-cabulary.

December will have its Crete, cards, etc. This goes on for a specialtheme each month.

To prepare these boards I use all possible pictures, book covers, adver-tisements, posters, etc.and the work of talented students who can createcut -outs and designs. I cannot do it myself, but by giving ideas, materials,and help to artistic students, they are usually able to do a fine job.

Since we have plenty of space, a portion of the board is usually usedfor regular French posters, maps, menus, etc., which we try to recognizeand discuss.

TEACHING OF TIME CONCEPT

Use time line to give students an idea of the relationship of tenses toeach other:

>Pluperf.Perfect Present

Present: Maintenant je vais a l'ecole.

Perfect: Hier je suis Ole a lecole.

Fut. Perf.x

Future

Maintenant x (present)je vais

>2_c Hier x (maintenant)je suis alle(e)

Pluperfect: Quand je suis allele) en France,J'avais deja appris la langue.> x (pluperf

j'avais appris

Future: Demain j'irai a l'ecole.je vais alter x (Aujourd'hui)

x (Perfect)je suis 8116/

(Demain)j'irai /

je vais aller

8 Recipes For Teaching Foreign Languages in Oklahoma

Future perfect: (Actually past of future tense)

J'irai a l'ecole apres que j'aurai fini mon petit dejeunerx (Fut. perf.) (Future)

j'aurai fini j'irai,

Distinction of Imparfait and Passé Compose or Passé Simple

Imparfait = Habit, description, continuation, duration in the past

Imparfait = IM (not) PARFAIT (finished)

Passé compose simple=Completed action performed one time and c.verin the past simple

Passé compose = PASSÉ (past) Compose (Completed)

Use same time line concept as above to point up the basic difference inthese tenses. Now let the time line equal length of time necessary to com-plete whatever is taking place:

Le SOLEIL

uand BRILLAIT

(Pasz-,e simple) sortit est sorti (passé compose)

= one-time action

10 Recipes For Teaching Foreign Languages in Oklahoma

GAMES

"I went to the zoo"Each student begins a recitation with "I went

to the zoo and saw ...". He adds one animal nameto the list built up by successive recitations. Thegame provides an entertainingly effective noundrill. It has variants such as "I looked in my flow-erbasket (fruitbasket) and saw . ." or "My ship'scoming from Hamburg loaeed with . . .". Thegame is even more effective if it involves actuallytaking the thing named out of a container.

Speed ContestStudents are each given thirty seconds to see

who can name the longest list of things in theshortest time.

SingularPlural GameThe class is divided into two teams. A member

of one team ealls to a member of the other teama singular noittL. The one called must reply withthe plural form. Then he challenges a member ofthe first team in a similar manner. Score may bekept.

Games with NumbersBingo-using, of course, the numbers and letters

of the foreign alphabet.Zooma counting game in which the word

"Zoom" is substituted for the number seven.When, for example, the counting reaches "twen-ty-seven", the person whose turn it is must say"twenty-zoom". Failure to do so eliminates onefrom the game. May be played very rapidly.

RhythmEach student is assigned a number and a rhythm

is established by slapping the desk twice, clappingthe hands twice, then snapping, first, the fingersof the right hand and then, the fingers of the lefthand. When the leader snaps his fingers accorl-ing to the rhythm he first calls out his own num-ber, then he repeats the rhythm sequence andcalls another student's number. The surprisedstudent has to do exactly what the leader didwhile keeping up with the beat.

german

TELEPHONE CONVERSATIONS

One teacher has two war surplus telephonesthat are used as props to enliven classroom reci-tations. They ring for added realism and topics ofconversation are assigned in advance. Anotherteacher actually tells students to expect a realphone call over the weekend. The resulting con-versation is pre - assigned and graded.

NONSENSE

Students frequently confuse direct and indirectobjects or find parts of speech a confusing subjectin general. Yet German students in particularmust know parts of speech in order to use adjec-tive endings correctly. Using nonsense words canfrequently convince them they can recognize adirect object even if they don't know what thewords in the sentence mean. Try putting LewisCarroll's nonsense poem on the board:

"Twas brilling and the swithy tovesDid gyre and gimble on the leabe;All mumsy were the borogoves,And the mome raths outgrabe."

Endings, definite and indefinite articles lead themto the right answer. Then have them invent wordswith appropriate articles and endings for the for-eign language. This seems to give courage andconfidence to formerly bewildered students. Italso avoids grammar lessons, particularly forthose who never understood English grammaranyway. The sillier the words sound, the better.Those who have no problems are still amused bythe inventive part of the game, using skill, hu-mour, and imagination in the assignment. Theyalso enjoy analyzing each other's creations.

Example: Das prutsche Klofflem at denschlurpenden Fuhltiger der Senkelin begriert.

German Section

DIALOGS

Another teacher has called our attention to thefact that many texts in use today lack sufficientvisual support to help teach the meaning of theirdialogs in the target language. She provided uswith the visuals she uses to support a well knowndialog from a well known text which we are notat liberty to quote here. It is important to notethat she used a separate visual to support eachindividual thought in the dialog. These visualsmay be done °xi ditto masters or transparencies orposter boards, or all three.

DIALOG CHARADES

Here is one way the same teacher brings olddialogs back to provide re-entry of previouslylearned materials.

All children enjoy charades. First I divide theclass into two teams. Then I give one person ata time a small piece of paper on which I havewritten a simple sentence or expression takenfrom the dialog or work in class. Each personmust act out the sentence in pantomime to histeam. The team must guess the sentence, beingcareful to use the correct endings and verb agree-ment. The team with the shortest time accumu-lated to guess the statement correctly wins. I donot grade the performances, but I do find theexercise worthwhile in helping vocabulary, com-prehension, and grammar.

40 1 qi 67)1

Co fJeJcK ni raili,sq

9,5.

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\ 14 Recipes For Teaching Foreign Languages in Oklahoma

FLANNEL BOARD

A flannel board is an effective means to stimu-late the use of oral Latin. An inexpensive flannelboard can be made from a piece of wallboard,plywood, etc., and covered with outing flannela neutral color or green and blue for land andsky. On such a background, colored pictures (eith-er original or cut from a magazine) can be usedto create any scene or group activity desired.

"LATIN LIVES TODAY" NOTEBOOKS

Any teacher of Latin is aware that there is muchevidence that Latin is not "dead". Students findit interesting to collect such evidence: advertise-ments of products using brand names derived fromLatin or Greek; plans for the modern home (theatrium house, the condominium); furniture; roomdecor; use of columns, arches, and domes in archi-tecture; music; science; mathematics; movies; car-toons; et cetera.

FINGER PUPPETSUse finger puppets to present original dialogueswritten by the students or to determine stories.

Use a styrofoam ball for the head of the puppet.Hollow out a portion at the base of the head largeenough to insert a finger. Strands of yarn can bepinned to the head for hair. Bits of felt pinned tothe face make the featurescolored sequins makeeffective eyes. The clothing is made after thesimple butterfly style, raising the neckline so itcan be pinned around the finger hold in the head.

Students, working in two's and three's, writetheir own dialogue using the vocabulary alreadylearned.

In the presentation of the dialogues, the flannelboard can be used as a background E° a puppettheater is not available.

A CLASSICAL FILEWith the word humanitas ever in mind for con-

tent, a news item, editorial, regular column (Syd-ney J. Harris, Tulsa World, is excellent), comicstrip, or a short magazine selection may he gluedon a large file card with a suitable-to-content vo-cabulary word and all of its parts along with sev-eral English meanings printed in large letters onthe opposite side. A "dictionary" collection ofthese may be filed in an appropriately sized boxcovered with classical print paper or cloth, ormay be used in any way the teacher wishes. Inthis way today's materials pertaining to archaeol-ogy, philosophy, politics, social problems, and thesciences may be related to Latin and the Classics,and vocabulary may be made more meaningful.

pea fin

BRIGHT ARROWS OF THE MORNING"Bright Arrows of the Morning" is a sportive

dance playfully exaggerating the formalities en-gaged in an archery combat.

The opponents announce their arrival on thescene by ringing bells in "open" and "shut" poses,signifying a call to the gods above and to men onearth.

"Attend, 0 gods! All men attend!"Three times (a magic number uses? in ancient

times as well as at the beginning of a theatricalperformance today) they make the sign of FatherTime's scythe, then run through the opened "arenagate" to face each other in a gleeful "slap pump"(the alley-opp get ready signal of acrobats). Theyleap forward into the air supplicating the blessingsof the gods upon their auows. The dancers slidepast each other closely, just missing collision,passing swiftly as arrows in the wind.

Caught in a whirlwind of fleet motion, thearchers approach together, mark time, then sendtheir arrows up to the sun (the ultimate judgmentof fate lies in heaven!).

Exulting in mutual victory, the archers bringthe dance to a close. As in the beginning, so atthe end, their bells announce the closing of thearena gates (the invisible curtain separating menfrom gods). Their only reappearance is to receivethe plaudits of the crowd assembled in the arenatheatre.Choreography by Mrs, Fred E. FreyMusic from "Fountains of Rome"RespighiOriginal dancersDede Elkan and Terri WardSooner Junior Classical League Chapter, Bartles-

ville, Oklahoma October 21, 1969

SENTENCE STRUCTUREPURPOSE: To improve pronunciation, things in

Latin, and vocabulary.METHOD: The first student starts a sentence with

a noun subject, the second adds a verb, thethird a direct object. After we have the skele-ton of the sentence, each student in turn addsadjectives, adverbs and prepositions, andstarts clauses for others to finish. Each studentmust repeat the whole sentence when makinghis addition. Finally, each student writes theentire sentence and translates it.

A DEVICE FOR TEACHING ABLATIVE ABSOLUTES

In teaching ablative absolutes in my Latinclasses, in order to add motivation and a note ofhumor, I often hand to the students a list of thesein Latin.

Students are required to rewrite the clauses inEnglish. When they have done thiA, they can thencomplete the sentences in English as they wish.The following is a sample list; a list of some of thesentence completions which I have received isincluded. You can see for yourselves that they en-joy devising funny endings.

Latin Section

ABLATIVE ABSOLUTES1. Hostibus pulsis,2. Pace Confirmata,3. Fore Romano viso,4. Militibus defessis,5. Armis a militibus diu portatis,6. Tempestate brevi,7. Me is litteris acceptis,8. Ianua aperta,9. Consillo eius audito,

10. Urbe tote. vastata,11. Itinere lone,12. Omnibus discipulis ridentibus.13. Luce c)arissime,14. Classe e6rum repulse,15. CicerOne consule,16. Pueris monitis,17. Nostris amicis ad convivium venientibus,18. Cena optima in mons& posits,19. Hoc opere perfecto,

SOME OF COMPLFTIONS RECEIVED

1. , we added a dash of salt, placed them over aroaring fire, and took an occasional nibblewhile mother was on the phone.

1. , she spanked them all soundly and sent themto bed.

2. , The Romans kept saying, "Carthage must bedestroyed."

3. , we decided to shop the rest of the afternoon.3. , we hiked up our togas and happily hippity-

hopped to Caesar's palace.4. , they killed a few small dragons and hit the

sack.5. , they stopped for a spot of tea and crumpets.6. , the barbarians in the hold of the ship had agood time.

7. , she went to the movies with my best friend.8. , George resisted temptation.9. , they smiled, grinned, snickered, chuckled,

laughed, guffawed, and fell on the floor.9. , they realized the city would be saved.

10. , we had our picnic at the beach.10. , the wrecking crew asked for a raise.11. , they drove the bus driver crazy by singing

the same song over and over.11. , she ran out of money.12. , Caesar walked in.12. , the teacher gave a pop test.14. , the boys were able to fish again.17. , mother put away the good dishes.17. , we thought we'd go to Dallas before they

arrived.18. , I yelled, "Bring on the dancing girls."I9. , teacher will probably think of something else

for us to do.19. , may we work on our algebra?

15/

IP 1 q300L/usk

18 Recipes For Teaching Foreign Languages in Oklahoma

..-S7panbh

PARTLY GUIDED OMPOSITION

Most methods courses advise against free comp-osition until the third or fourth semester in a newlanguage. Controlled composition is used until thisperiod of development. Sooner or later, however,the studW must acquire a written style using allhis knowledge of his nPw language structures,idioms, grammar, etc. If free composition is triedtoo early, the results are sometimes disastrous,but the desire of expressing himself is present andniust not be suppressed indefinitely. The teacherwill decide when the students can move fromcontrolled to free composition.

At any stage the actual writing of the composi-tion should follow the general rules for %vtiting inEnglish:

(1) A subject (2) A viewpoint(3) Vocabulary (4) Limitations

The poem was a simple four line childrens'rhyme and here are the steps suggested by theteacher for proceeding from reading the poem towriting a paragraph that is just what the languageteacher needs an intermediate step betweencontrolled and free composition.

1. Reading of poem (from book, board, posteror transparency).

2. Visually supported presentation and practicewith vocabulary.

3. Practice with verb forms making questionand answer or chain drills.

4. Suggestions by students of alternate descrip-tions of the subject of the rhyme. (Theseshould be put on the chalk board.)

5. Presentation by teacher of any added vocabu-lary and structure she thinks is needed.

6. Writing a paragraph about the central figureof the rhyme (a butterfly perhaps) in accord-ance with the descriptions that are in thepoem and on the board.

7. Reading by students of each others work tocheck for accuracy.

8. Reading by students of their descriptions toothers and later to the class.

9. Grading oral and written.

The teacher who supplied the idea reports that145 of her students were able to write a paragraph.

FOOTBALL

Put the following football field on the black-board or have a transparency made of it.

G 10 20 30 40 50 40 30 20 10 G

10 20 30 40 50 40 30 20 10 G

Rules of Game

1. Divide the room into two teams.2. Allow each team to choose a captain. Choose

team names.3. Flip coin to see which team goes first.4. Select student to handle blackboard.5. Start at 20 yard line.6. Each question answered correctly moves ball

forward five yards.'1. Question answered wrong ball does not

move.8. Ball must move ten yards in four downs. the

ball goes to the other team on the yard line atwhich the ball was resting.

10. FUMBLE (Challenge) if two persons in arow miss the question, the other team maychallenge. If challenger answers correctly, his

Score Board

Team ITeam IIDowns

team takes over the ball at the yard line atwhich it was resting.

11. Captain always starts the plays, but if hemisses the question on a challenge, he maydesignate player to answer next. In all otherplays, the players are rotated in order (up anddown rows, other methods).

12. Touchdown is six points. Persons answeringtouchdown question must answer the nextquestion to score the extra point. After touch-down, other team takes over on its 20 yardline.

It is up to the teacher to decide which kinds ofquestions to use. The students' job may be to givethe response from a stimulus response drill. Itmay be to spell aloud in the "Spanish Alphabet".It may be to answer a direct question or it may beto obey an instruction given in Spanish.

Spanish Section 19

CHRISTMAS CARDS (Team Teaching)Many projects can be done for credit in both art

and Spanish courses if the teachers of the twoclasses coordinate their efforts. Students in eitherclass would enjoy making Spanish Christmascards.

Here are some suggested greetings to use.Que la Navidad y el Afio Nuevo que se avecinan

sean muy felices pars usted y los suyos.Que el gozo de LA NAVIDAD perdure en su

corazen.Bendiciones e:, Navidad y Prospero Afio Nuevo

tambien.Que is asombrosa historia de la Navit'ad Ilene

vuestro corazen de profundo gozo.Que esta Navidad este pleterica de bendiciones

de Dios; que estas continden durtote el AfioNuevo.

Que la estrella de Be len ilumine vuestro amino,y que tengeis dicha y paz en esta Navidad.

FELIZ NAVIDADFELICES PASCUAS

FELIZ APO NUEVO

USING TEACHING THEORY

.At the beginning of each school year I attemptto convey this thought to my students: Languageis a product of the human mind. Words used ineach language are merely abstractions of reality.They are arbitrary symbols used as representa-tives of various objects, emotions, actions, atti-tudes, etc. The spoken or written word is neverthe actuality itself. If a definite relationshipexisted between words and what they represent,then the various languages of the world would beunnecessary. There would be only one languageconsisting of one fixed set of symbols.

As in English and other languages, Spanish hasits own set of symbols to represent ideas. Thisunique set of symbols differentiates it from otherlanguages.

To learn Spanish successfully, one must learnfrom the beginning to think in the language. Hemust learn to visualize in his mind what each con-cept represents. Attempting to translate thethought into English will become only a stumblingblock.

As a Spanish teacher, I have used the followingmethods in guiding my students to think in Span-ish, or Think Spanish:1. To test my students' ability to think in Spanish,

I often require them to illustrate in pictureform, the main idea evres.sed in the Spanishphrase.

2. When expressing themselves in Spanish thestudents must use complete thoughts. All vo-cabulary must be used in complete Spanishphrases.

3. Instead of asking students to translate fromSpanish into Eng ish, I use this procedure: Stu-dents are asked questions in Spanish over as-signed material and expected to answer inSpanish.

4. In order to gain a better understanding of theSpanish language, students are asked to present

many conversations in class. FOR PROPSTHEY USE THE OBJECTS MENTIONED INTHEIR CONVERSATIONS. This gives them anassociation between the objects and the Span-ish words used to represent them.In my opinion, learning is much easier for stu-

dents when it proves to be fun. Therefore, I pro-vide activities for the students that encouragethem to use their own creativity. A few of theactivities my students have enjoyed are the fol-lowing:1. The students have made posters representing

many of the Walt Disney animals with theirSpanish names. (Ed note: Materials from Edi-tors Press Service can supply these see Bib-liography)

2. Also, they have made notebooks containingmany colored pictures of animals. Under thepicture of each animal the Spanish name hasbeen written.

3. When studying rooms in the house and furni-ture in the house, students make floor plans.They label each room by its appropriate Span-ish name. Then they draw furniture for eachroom and label it in Spanish.

4. To learn completely the Spanish words used inreferring to clothing, each student compiles hisown catalogue. This catalogue represents hisclothing store. He first chooses a Spanish namefor his catalogue. Then inside the catalogue, hefeatures the latest styles for men, women, andchildren. Everything is labeled in Spanish. Healso includes in his catalogue, prices, sizes. andcolors of each featured item.

5. To learn effectively the words used for food orfood items, the students prepare grocery ads,and make attractive menus.

6. To teach students the months of the year, thedays of the week, and special holidays, I requirethem to ma an accurate Spanish calendarcontaining all this material.

7. When studying weather expressions, each stu-dent prepares a special weather report and pre-sents it in class.

8. Students prepare many original dialogues topresent with a partner in class. This gives themmore confidence in using the Spanish lanituage.

9. Students are encouraged to be continuously onthe alert for anything that pertains to Spanish.Then they are asked to share their findingswith the class members.

NON-STOP WRITINGFOR LANGUAGE CLASSES

Non-stop writing is not an original innovation.It was mentioned in a book' and I have supple-mented and used the idea in seventh grade Epglishclasses and high school Spanish classes.

Both seventh grade English classes and highschool Spanish classes are directed to write with-out stopping for five minutes. They write anythingin English for the English classes and in Spanishfor Spanish classes, If they can think of nothingbut words, then they write words. If they are ableto write thoughts. then they write thoughts. If

Cortbanter vre,stned bora Vie talltratthsteg Ikel, by /ARNoel

20 Recipes For Teaching Foreign Languages in Oklahoma

they become stranded on a word or a thought, thethought or word is written over and over andover until new ones come. When time is called,words are counted and amount divided by five.Score is kept and compared with fellow students'and with self average of previous day.

For two weeks, the classes had five minutes aday which they eagerly anticipated and beggedfor. Not only were they surprised upon writing somany words and/or thoughts, but they vented alot of private feelings and frustrations that youngpeople have. After each session, they disposed oftheir papers if they wished.

A class of immature seventh grade students wasespecially satisfied after writing. Several studentswere non-achievers, academically, until now. Onestudent wrote only forty-five words in five min-utes. A discreet glance revealed many illegible,some slang and even vulgar words. This studentdiligently counted them, cat, dog, the, include-I theinelegant words, and kept a careful score eachday.

F'irst year Spanish students wrote only wordsin Spanish. These were gratified to visualize the

0

Me levanto

Me desayunr

Bajo del omnibus

mountain of Spanish words they hadn't realizedthey knew

Second year Spanish students wrote thoughts.From this they gained satisfaction and voluntarilyproof-read their work.

After two weeks of five minute writing, it wassuggested that they now "Meditate" for five min-utes and then were timed, writing their "medita-tions." At this point, many asked for critical view-ing of their papers.

Eventually the English and Spanish classes willbe assigned creative writing perhaps with a sug-gested topic. Hopefully, they will now have muchmore confidence in themselves, and enjoy writing.

Whatever the results or follow-up, the foregoinghas been most satisfying to students and teacher.To the student, because many, for the first time intheir lives, were filling pages with their ownwork. Others were frantically releasing pent-upemotions and frustrations. To the teacher, thesessions have been exceptionally rewarding;achievement, and satisfaction are evident in theactions and faces of the students.

LQUE HACE VD. POR LA MAANA?

Me visto

Me pongo la chaqueta

itEEntro en la escuela

Me lavo Bajo al comedor

4.1.101101111111..

Salgo de is casa Subo el omnibus

Me quito la chaqueta Me siento y estudiomis lecciones

Spanish Section 21

This is a little drill work which relieves themonotony and appeals to all because it has someaction. The stick figures and captions are on theblackboard for a few days until you wish to erasethem. You may wish to make an overhead trans-parency of them for permanence.

At the question "iQue hace Vd. por la manana?"the students stand and go through the recital withproper motions such as "subo el omnibus" (makea step up), "me pongo la chaqueta" (pretend toput on a jacket), "salgo de la casa" (pretend toopen door), etc. As many of or as few statementsas desired can he tired, or changes ma,/ be madeto suit the class. Students may take turns leadingthe class.

More Games

"Who am I" or "iQuien soy yo?" One personthinks of a famous man or woman in history orliterature either living or dead such as Cinderellaor Napoleon. The others must ask him questionsin Spanish that can be answered by yes or no.Such as: "Are you a fictional character?", "Areyou living now?", "Did you live in the 17th Cen-tury?", "Did you live in the United States?", etc.When anyone recognizes the character, he be-comes the next player.

"What's my line?" or "Wudl es mni trabajo?"Here, students ask questions such as "Do you workwith your hands ?', "Do you make a lot ofmoney?", "Do you work indoors or outdoors?",etc.... until someore guesses the occupation. Thisis also good for learning the various occupationsin Spanish.

The first year class cars soon play he game"What do I have?' or "SQue fen° yo?" I havea collection of dozens of miniature objects food,furniture, animals, modes of transportation, etc.One person picks out an object and conceals it inhis hand. Each person must ask him a questioi,about it. "Is it an animal?", "Is it white?", "Is it inthis room?", etc. As their vocabulary grows, theycan ask more questions.

We also play:PasswordDouble or nothing, and for nractice in num-

bers, "The nice is Right" with advertise-ments from magazines.

Once a month, the second year classes put out anewspaper "Un poco de Todo" in Spanish whichhas editorials, sports section, ''Dear Abby" (Quer-ida Rosita), lost and found. cartoons, and a cross-word puzzle. Each month the staff is changed togive everyone an opporturity to write.

COMIC BOOKS

I use comic books which are translations ofEnglish comics I am sure the students have read.They already know the characters and the plotand can "guess" many unknosm words in thestory. I realize this is not teaching "integral cul-ture" in the class, but it gives the students a feel-ing of accomplishment which may be needed morethan the vulture" obtained from another sourceThese are used during the second semester of sec-ond year Spanish and are used sometimes individ-ually and sometimes by the entire class.

USE OF REALIA IN SPANISH CLASSFrom OBJECT To PICTURE To WRIT-TEN WORD To PATTERN SENTENCESTo ORIGINAL SENTENCES

Introduce the vocabulary and drill on pronun-ciation with the use of real or plastic fruits, emptycartons, jars, etc., for visual support. A magazinepicture file is helpful for drill to learn vocabulary.Place on bulletin board. Removable captions maybe withheld at first, added when writing is pre-sented, and left out again for spelling tests. (Seeconversation card approach iA All Language Sec-tion) Here are a few constructions aside fromsimple nouns which can be practices with thecares:

Me gusts (n)Me gusta el meld:.Me gustan las uvas.

Adjectives positior, agreementLa manzana es roja.El !Milano es amarillo.Las fresas son rojas.

Direct object pronounLa carneEl pan

La como.

Lo como.

For variation, a genre can be made out of a drillon direct objects. The teacher says "I am on a diet(snows card)." "Do I eat butter?" The answer(No you don't eat it) reqlires the use of the directobject pronoun.

Real article:: of clothing (donated or boughtsecond-hand) can also be used for realia. Here aretwo drills that can be developed with them.

1st year Lleva blusa Blanca. (She is wear-ing . .)

advanced No me queda. Me quecla grande. Noes de mi rnedida. (It doesn't fit., etc. It isn'tmy size.)

Students may wish to present a fashion showwith a pretaped commentary and student models.

FIGHTING BOREDOM?

Careful minute by minute planning is one keyto good discipline. Since your class plan dividesthe hour into segments anyway, you might tellthe class the schedule. Have one student tap a bellat the end of each segment This passes aroundmuch responsibility. Students know how long eachsegment i- to last. There is more participation onthe part of all students. They become involved inthe activiti ?a of the class. This type of planning isespecially valuable when breaking your classdown for small group work.

22 Re tipes For Teaching Foreign Languages in Oklahoma

TEST REVIEW TROUBLE?Don't bore the students who made good grades.

Have a choice of related work for them to dowhile the teacher works with the smaller group.These "free" students may listen to tapes throughearphones; read articles; make a project; draw;listen to records by using earphones; read bot.ks;play games available in classroom; or make re-cordings to name a few. This has a good effecton those working on the test; they work moreseriously ro they will have a privilege next time.

TIME

A cardboard or wooden clock with novablehands is a vr.ry effective device for teaching timeif you don'. have a clock in your room

OVERHEAD PROJECTOR

The overhead projector can be used very effec-tively as a means of presenting additional drillsin sentence structure and verb conjugations toshow agreement of gender, number, etc.

An electric typewriter with primary print isbest for this, if available. The primaly print willproduce a larger, and consequently, more legibleprint. After preparing your material, it can betrarsfcried to a transparency by e ThermofaxCopier. Written c;,ptions should be made on sep-arate "overlay" transparencies so they can be usedonly if needed.

These transparencies supplement the drills pre-sented in the text and on the tapes and add varietyto material which is often repetitious and dull.

Example: (Tne visuals are available on pre-drawn transparency masters by 3-M Corn-pany.)

(Visual boy pointing ata person spec ing)

(Speaker pointing athimself while talking)

(Boy pointing at a group ofpeople talking)

(Arm-in-arm groupresponding)

(Visual shows old manpointing at boy)

(Same as second visual)

Do you speakSpanish?Yes, I do.

Do you peoplespeakSpanish?Yes, we do.

Do you speakSpanish?(informalyou)

Does he?Yes. he does.Do they?Yes, they do.

These ten questions and answers can be used onany verb in any tense in most langut.ges. Differentvisuals can be used to change the verb. They makea more interesting way to practice verb formswithout using the usual conjugation.

PRACTICING NUMBERS

Students can learn numbers without much diffi-culty when they are presented every day, but theyneed review to retain them. A good way to p:sw.-lice is to use a connect-the-numbers game to drawpictures. Any picture from an animal to a cathe-dral will do, but those with nearly all straightlines are best.

Place up to 60 or so numbers on the designthe students see only these numbers, not the pic-ture at first. By drawing a continuous line fromnumber to number (these may be written in thelanguage or given orally), the picture is revealed.Do not give the numbers in order for example,have them draw a line from 1 to VI to 84, etc.Little by little the lines will cause the picture tobe revealed.

For drilling, try to ask questions that will elicitthe same answer.

Example: What's the weather like in the fall?How is it in the fall?Is it cool and windy in the fall?Isn't it cool and windy in the fall?When is it cool and windy?In what season is it cool a td windy?

CONVERSATIONIn my second level Spanish class a 9th graders,

I encourage my students to use their foreign lan-guage conversation other than in a formal class-room manner.

We have an informal conversation period duringthe first ten or fifteen minutes of the class periodto allow the students to talk about anything theywish in Spanish. They agreed this would be betterfor all if it were conducted in an organized man-ner and only one student talked at a time.

Students are given points when they add asentence to our conversation. Although this isvoluntary. these points contribute to part of theoral grade of each student. To make an "A" inorel work. the student must contribute at leastfour times a week. three times for a "13", etc. Theoral grade makes up one-fourth of the student'soverall grade.

I keep the conversation moving rapidly so as tokeep up the interest. As soon as there is a lag,the conversation is considered ended. Usually thestudents have more to say than we have time for.Because of the time element, students prepare aphrase before class if they are not skillful in spon-taneously using the language.

Usually in the beginning there will be one stu-dent talking about school. another about sports,another about home, etc. By about the second orthird week. the conversation becomes more cen-tered on one or two subjects each day. A studentmay mention something which many of the stu-dents are interested in and the others make re-sponses or ask questions about it in a naturalspontaneous manner. It is this natural use offormerly learned sentence patterns which I amseeking.

Spanish Section

I find this conversation increases their compre-hension ability because they are applying pre-viously learned patterns to real life. The studentslook forward to this time., especially if they havesomething they N ant their classmates toabout. It increases their vocabulary because theymust look up nouns they are not familiar with. It

23

is not unusual to have students who contributeeight or ten times a week once their interest isaroused.

Although the students must speak only Spanishthroughoui ii,e class period, the conversatica gen-erally deals with classwork and is of a more seri-ous nature. The conversational period allows fora more personal use of the language.

"TIC-TAC-TCE"

Use the ordinary playing squares for tic-tac-toe.

seco feo grande 572 68

bonito alto limpio 3,000 763

largo mojado gordo 900 73

Antonym version Scoring squares

Fill each squr ee with a language challenge. Youmight use a nuni'oer to be read aloud in Spanishor possibly a word to be defined in Spanish, oranother word whose antonym is to be given. Halfof the class is on the 0 team and the scorekeeperputs in an 0 in the squares containing the wordsor numbers which that team deals with success-fully. The other half is on the X team and thescorekeeper puts an X in the sea. ares containingthe words dealt with successfully by that team.The procedure is like that of any game of tic-tac-toe.

A VARIATION ON THE GAME OF "BINGO"Leave out the letters at the top and replace each

with a splash of color (use colored pencils afterthe ditto for the squares has been run). Then youcan call such things as "yellow 32" (amarillotreinta y dos) to extend the educational value ofthe game. The game could also be adjusted topractice days of the week or months of the year,etc.

A RECIPE FOR KITTINGMORE "CLOUT" IN YOUR "LINGO"

1 Piñata (any site orcolor)

100-200 "Pinata"questions

I Enthusiastic teacher

1 Piggy bank (with acute face)

25-45 Lively students

1 Long-sufferingPrincipal

(Serve on a Spanish Holiday)

500

4,000

960

Numbers version(to be read aloud)

First prepare the students by teaching them the100-200 "Piñata" questions and answers using allthe idiomatic exp:essions you can when askingabout the weather, their classes, their clothes,holiday customs, families, etc. Suggest that atleast, one person make a piñata for extra credit(of course). Announce that on a certain date (welike October 15) you will begin "the piñata ques-tions". Place the piggy bank with the cute face onyour desk and suggest that the students 1;tart sav-ing their pennies. Then explain that each personwill have a chance to answer two questions (askedby the teacher in Spanish) each time you have"piñata" questions (three days a week, at least).If the student does not answer the question incorrect Spanish he puts a penny in the piggy bank.(The bank is passed by a student who is a SimonLegree when it comes to collecting). As soon aspossible the piñata should be hung tantalizinglyabove the heads of the class so that it can be ad-mired and thumped and measured many timesbefore La Navidad or El Dia de los Reyes Magos.

Ask a student to take the pennies from the. pig-gy bank, buy the candy and fill the piñata. Alwaysinvite one of the principals or counselors to wit-ness the breaking of the piñata. It is great fun tostart by blindfolding the shortest girl, then theshortest boy and allowing each person threeswings at the piñata until it is broken. Sometimesit takes a while but a good time :s had by all,including the principal.

24

EL JUEGO DE BEISBOLEN LA CLASE DE ESPANOL

This learning game is a perennial favorite withmy classes, both junior high and high schoollevels. It inspires 100 per cent participation, stim-ulates and motivates even the indifferent student,and appeals to both boys and girls. The. mall ele-ment of physical activity involved definitely addsto the enjoyment of the game, without in any waydisrupting. It is especially successful as a reviewdevice but it will work well also with a limitedamount of material, such as a single 'lesson orunit, making it usable early in the school year.

PROCEDURE: The class is divided into twoteams, either by rows or by "choosing up sides".Scorekeepers keep score on the chalkboard, indi-cating "outs" by X and scores by . If the gameis part of a "series", a permanent copy is keptfrom game to game. The group decides beforebeginning the game the number of chances or"strikes" a player will be allowed on a question,one or three. The game can be made more complexby the teacher-umpire's assigning a base-vale!: toeach question as it is presented. A simple questioncorrectly answered may be worth only one base,while a question of greater difficulty or severedparts may be worth two bases or even a home run.

Questions are asked by members of the opposingteam who indicate by hand signal that they havea question to offer. Each questioner is expected toknow the correct answer to his question. The"batter" selects the person to give him a question,but it is understood that the opportunity to wies-lion must be distributee as fair.), as possibleamong the whole tear:.

The four corners of the room serve as the bases.If the "batter" answers his question correctly heproceeds to first base (or farther, according to thebase value of his question), and waits for the nextpayer to answer his question. If the answer iscorrect, he proceeds to the next base; if it is not,he remains on his base until he may legally ad-vance. When he reaches home plate a score isrecorded.

ACTIVITIES FOR MOTIVATION

1. Order from the American Bible Society tractsin Spanish of the Christmas and Easter stories.These may be used as bookmarks and studentswill find many cognnates in these readings.

2. Older students like to hear the story of quail astold in Exodus 16 ,nd read from the SantaBiblia.

3. A nacimiento is assembled every year at thistime and is the subject of much conversaron.

4. Red peppers are collected in the fall to be driedand tied with red satin ribbons on a wbite-flocked tree. Miniature red birds complete thedecoration.

Recipes For Teaching Foreign Languars in Oklahoma

RECIPE FOR SPANISH FLESSinging is a very important and enjoyable por-

tion of a child's language learning and FLESteachers should take advantage of such avenues.

Inasmuch as the beginning unit of the materialI was using was on identification, whether one isa boy, or a girl, I made up the following song.

(Tune is "The More We Get Together", GrowingWith Music, Prentice Hall, Book 4, page 81. Iuse familiar tunes often and make up my ownwords)

0 qui& es este nifio, es Paco, es Pepe,ZO quien es este nifio, 3 quien eres ter?I Es Paco, es Pepe, es Juan o Felipe?L 0 quien es este nifio, o quien eres ttl?

l.0 quien os esta nifia, es Marfa, es Elena?ZO quien es esta nine, o quien eres ti?as Elena, Catalina, es Marfa, es Carmen?

ritrik es esta nifia, o quien eres hi?Once the song has been learned and when visit-

ing in their rooms, we sing the song, but use theiroon names. We sir.g. "ZO quien es esta nifia?" (Ipoint to the girl, who is surprised, embarrasedand delighted) as the class sings out, . . . "E;Shirley," "es Crystal . . ." We go all around theroom and every child is mentioned.

Singing the VocabularyMy students had learned the basic articles of

clothing and the following phrases:iQu4 tiene tu papa?&Clue tiene tu mama?Mt papa tiene una chaqueta roja.Mi mama tiene una blusa blanca.

iQue tienesTengo un abrigo negro.

I made up the following song using the basicvocabulary already learned. Tune: "Kookaburra ",Growing With Music, Book 4, Prentice Hall. Thisis an Australian round and children can do it inrounds in Spanish.

1. iTtene tu papa sombrero blanco?Tiene tu mama sombrero negro?Si tiene dos sombreros,Pero di que tienes td?

2. Tengo una falda roja y blancaTengo una blusa muy bonita.

Spanish Section 25/

Si, tengo blusa y falda,Pero di que tienes td?

3. Tengo una chaqueta muy bonitaTengo un abrigo y sombrero.Si, tengo muchas cosas,Pero di que tienes W.?

4. Tengo una camisa y es blancaMi papa tiene camisa blancaSi, tengo yo camisaPero di que tienes tti?

Children are encourages: to make up their owncombinations.

RECIPE FOR LEARNINGI have a little method which I use to teach parts

of the body and clothing in Spanish I. As a begin-ner, I draw a ca 'loon on the blackboard as I"LECTURE" all in Spanish. To be really effective,the method should be used at the first of thesemester and repeated at intervals. I start by tell-ing the class "Voy a ensefiarles algo del cuerpohumano." -hen I begin drawing a huge roundhead. "tsta es la cabeza del hombre. Aqui estanlos ojos, Aqui Wan las orejas . . . son muygrandes, iverdadt iQuZ es ista? 0 si, es is boca,y es muy grande. La nariz esta aqui y es my larga,iverdad? Este hombre tiene dos bravos con mascu-los aqui. El cuello no tiene una corbata £verdad?El pecho y el est6mago son muy gordos, iverdad?El hombre tiene una barba y tami,len tiene pelocrespo. Este hombre tiene dos piernas y dos pies.En los pies Ileva zapatos.

As a second time te "lecture", I di aw the headand one eye. Then I point to the place for theother eye and say "?qu6 le falta ao,ui?" The stu-dents get very involved end start telling me, inSpanish, what I should draw next. I have themtelling me what should be joined to the arms, thelegit, the feet, etc.

The third time I "lecture" by using the etrtoonmethod, I have the students tell me what clothingto dress "el hombre" in and even what colors touse.

The fourth time I "lecture", t draw the pictureand have them fill in the vocabulary for theblanks that I leave beside "el hcrabre".

I have found that the more outlandish my draw-ing looks, the more the students pay attention. Ireally do pretty good art work but I found thatexaggerated features work much better to teachthem parts of the body and clothing vocabulary.

j1C,\/ thm.GuM.1

i,c,i

tit.,

28 Recipes For Teaching Foreign Languages in Oklahoma

VOCAW AND ECHO

Foreign language ter.chers in Tulsa developed arecipe fOI Loosening the mono-lingual bind, and forbuilding readiness for foreign language study inelementary school children. We named our adver-tising campaign VOCAW (Voices of ChildrenAround the World, for modern languages) andECHO (Echoes of Classical Heritage in Oklahoma,for Latin).

The ingredients are deceptively simple but themethod of mixing them demands heretofore un-used faith from teachers and highly precisionedself-control from students. For VOCAW we usedthree ingredients: one class of fourth gradersstudying a social studies unit, "Children Aroundthe World", one class of junior or senior highschool students studying French, German, Russianor Spanish, plus an administration that permittedthe first two groups to get together.

For ECHO we used on: class of sixth gradersstudying "Our American Heritage" in socialstudies class, one class of 9th grade or high schoolstudents studying Latin, and the administration ofboth elementary and secondary schools. As foreignlanguage supervisor I helped Mrs. Ettalily Skin-ner, Reading Supervisor K -12, advertise theVOCAW service to the fourth grade teachers. Bothof us sent announcements to fourth grade teach-ers, and I notified foreign language teachers andelementary and secondary principals, so that ab-sences from, and visits to schools could be workedout legally and smoothly. Next, several foreignlanguage students attended a meeting of fourthgrade teachers and told them that when a teacherwanted her fourth grade to hear "Voices of Chil-dren Around the World" to call the Foreign Lan-guage Supervisor. When a fourth grade teachercalled me, I mailed her request to a foreign lan-guage teacher. The foreign language teacher inturn called the elementary teacher and the two ofthem decided upon a date and an hour for theVOCAW visit, gaining the consent of their respec-tive principals, of course.

Now, with an actual booking in hand, the for-eign language classes planned their visit with aminimum of presentation and a maximum of participation from the fourth graders. In fact, in orderto insure total participation, the fourth grade classwas broken up into small groups of from 3 to 6children, with one high school student "teaching"each of the small groups. The same procedure wasfollowed for Latin classes visiting sixth graders.

In small groups teen-aged "teachers" establisheda working relationship with the younger childrenimmediately, while the children asked questionsand repeated the new language without inhibi-tions. The excitement of learning a new languagefrom a new friend created a joy in learning thatalmost crackled aloud in the classrooms. Wheneach child took an active part, practiced thesounds aloud, associated them with objects, peopleor activities, he could remember more easily.

I had urged the foreign languages teachers toleave the children with

foreignlanguage" be-

cause i knew that lakehome language" would be

ofanpagei

paydirt for the foreign language program. Theteen-aged teachers outdid each other thinking ofmany ways to make the new language stick; theytaught songs, played gimes, had each child handlea soft toy animal as he said its name, passedaround plastic food, cardboard families, and fP.*.manimals, and left posters and tape recording.5 inthe classroom.

We know that they succeeded tmcause a fewparents told us so, but the bulk of proof came tous n the lethrs the children wrote to their "teach-ers", tanking them for "taking time to teach meto count to ten in Spanish," "I'm glad you visitedmy class because I told my Mother how to say'Mother' in German when I -rent home."

However, the "teachers" failed to recognize thatthe outstanding reason for their success was thefact that they were teen-agers. Tha children'sletters repeated their impressions as human be-ings, "you were nice to us" "I hope that I was niceto you," "I hope you like it here," "It was fun andI hope you can come back", and even, "learningFrench is fun and easy and when I get to highschool I'm going to take that course."

Time will tell about the pulling power of ouradvertising. But we do know that our foreignlanguage readiness program also developed readi-ness for teaching in the high school students. Onehigh school boy told his principal that he had somuch fun that he would like to be a teacher. Whenthe principal told me this I realized that VOCAW& ECHO had given him an opportunity to watchhis students tasting success because they knew aforeign language, and had advertised his schoolin a feeder school. The greatest thing VOCAWand ECHO did was to use fun and play to increaselearning.

TECHNIQUE'S FOR USEOF CONVERSATION CARDS

The use of objects in the classroom has longbeen considered vital to the teaching of vocabu-lary and oral use of the language. Most languagerooms are, therefore, crowded with such objects.The teaching objectives can be attained throughthe planned use of attractive pictures of objects,and this approach is not limited by the size of theclassroom.

The use of visual cards to supplement and rein-force textual materials can be effective If it Isdone regularly and if it follows a carefully con-structed plan. These cards, used at first to teachsimple words and linguistic patterns, can teachalso many points of grammar. As more sophisti-cated cards are introduced, they can become con-versation pieces to stimulate oral use of the lan-guage.

Drill with cards should not be done at irregularintervals, but should occupy a regular part of thedaily schedule, perhaps as a break between peri-ods of intensive concentration. Students andteachers will find it relaxing and interesting.

AU Languages 29

Cards should never be used without a carefulplan. The possibilities for making them in variouscategories are endle3s. Here is a basic list (prob-ably in the order that they should he taught):numbers, colors, family, home, school, fruits, mis-cellaneous foods, clothing, parts of the body, sea-sons of the year, sports. This list can, as studentsbecome proficient, be expanded to include allsorts of student interests.

Visual cards should be made of strong cardboardand should be uniform in size for convenience Instoring. They should, at first, have no writtenwords in English or the foreign language. Picturesshould be in colors and should have both eyeappeal and interest for students. They should belarge enough that "Johnny on the back row" willhave no difficulty in seeing all of the details of thepicture. Pictures for the cards may be cut frommagazines, but they should be clear. well con-ceived pictures. Interesting situations intrigue stu-dents; people in the pictures should look like realpeople. Pictures of foods (fruits, vegetables, etc.)should look tempting.

After teaching the numbers to ten and thecolors, teach members of the family. Begin byhaving students listen and repeat: "This ismother," until they have memorized and are ableto repeat correctly (responses should be in chorusby the entire class). Then, the question, "Who isthis?" should elicit the response, "This is mother."Single words should not be taught out of context;they should be taught as part of a linguistic pat-tern.

As new vocabulary is introduced and new lin-guistic patterns are learned, drill with the cardscan become more sophisticated. For example, abowl with apples, (some red and some yellow)should be shown and students should be able toanswer these questions without hesitation: "Whatare these?" "How many apples are there?" "Howmany red apples are there?" "How many yellowapples are therf:?'

After the class has answered these questionswith everyone participating in chorus, a specificquestion should be directed to one student, "John,do you like apples?" This helps to hold attentionas students always know that one student will beasked a direct question. Another example wouldbe in the use of family cards. As students learnthe names of articles of clothing, and increasetheir vocabulary and use of linguistic patternsfrom textual materials, they are then able to dis-cuss the color of mother's clothing, whether she ispretty, large, small, etc. After FJme weeks, stu-dents are able to bring to class pictures of themembers of their own families and to discuss themat some length without recourse to notes. Thesediscussions should be limited to words and lin-guistic patterns already mastered in practice.

Once having mastered the elementary phases ofcard drill this technique can become as sophisti-cated as the teacher and students desire. Studentswill often volunteer to bring whole categories ofcards in areas of their own special interests. Theclass should be intensively drilled with correctusage and vocabulary before the student attemptsto use the cards. Ultimately, they are able to con-verse with some fluency on many topics.

The same cards can be used again and again indifferent ways. For example: singular and pluralforms can be taught as well as ute of adjectivesand adverbs, idiomatic usage, masculine and fem-inine forms, verb usage, possessive pronouns, etc.For the creative teacher, possibilities are un-limited. Cards related to trips abroad could beused in more advanced classes in such categoriesas: procedures at the air terminal, registration inhotels, conduct on tours, conduct in a restaurant,conduct on campus during foreign study, socialcustoms in various countries, professions, etc.

Conversation cards can be used by any teacherin any class; they cost very little; they can beexciting; and they encourage the student to useforeign language with some feeling of securitybecause he is following a procedure which hasbecome a part of his background of knowledge.They are not so boresome as ordinary patterndrills and they often accomplish more.

We do not advocate the use of visual cards toreplace textual materials, but we do strongly rec-ommend it as a practical reinforcement. Studentsstill will need texts and laboratory practice.

Review Game With Conversation Cards

After some months of daily drill with conversa-tion cards, a whole period can be given to reviewwith everyone eagerly using the language. Theclass can be divided into two teams, each with acaptain who calls on individual students to partici-pate. All of the cards that have been learned inclasses are mixed and turned face down on theteacher's desk. Students, as their name is called,go to the desk and draw a card. They then atteniptto tell everything that has been learned from drillwith that card. If they omit anything or make amistake in usage or pronunciation, someone fromthe other side corrects them; this gives the oppo-site team a point. One person from each side keepsscore; at the end of the period, the losers serve atreat to the winning team. This stimulates almosttotal participation and motivates students to usethe language effectively. Also, students have afeeling of security to know that they can do this,and are motivated toward independent languageusage.

30 Recipes For Teaching Foreign Languages in Oklahoma

SELECTED MATERIALS

;Ed. Note: This is merely a list of some of thesources mentioned in the recipes. It is not intendedto be an exhaustive list of resources.)

American Bible Society450 Park AvenueNew York City, New York 10022

Free list of publications, they distributeBibles and Biblical literature in all lan-guages at low cost.

Baptist Publishing HouseBox 4255El Paso, Texas 79914

SPANISH ONLY Calendar with dailyBible readings 45c Ready made SpanishChristmas cards inexpensive.

A Spanish radio program entitled El eco espaiioiis available to those teachers who will supplyblank tape for duplicating their own copies.

Write: Mr. Tom Warnock, Program DirectorWOSU RadioW. 19th AvenueColumbus, Ohio 43210

The entire series has 32 fifteen minute programsand could be copied at slow speed onto 6 MOO'reels of tape. You may prefer to send one reelonly for a random sample of programs from theseries.

Writing the public relations department of anylarge firm will usually yield large, colorful pic-tures of their products which are perfect for thevisuals recommended. Remember to be quite spe-cific about the type of material you are seeking(e.g.: "Oversized, colorful posters illustrating yourcompany's product in use"). Use school letterhead.

Some companies you may wish to write are:Carnation Milk Co.5045 Wilshire Blvd.Los Angeles, California 90036

(They also distribute an "information wheel"that gives facts about South American countries)

Del Monte215 Fremont StreetSan Francisco, California 94119

and,

Sunkist Growers, Inc.Consumer Service DivisionBox 2706. Terminal AnnexLos Angeles, California 900M

Publications of interest to Spamsn teachers areavailable from:

Editor's Press Service551 Fifth AvenueNew York, New York 10017

Their list of publications is free. They sell Hab-lemos magazine and numerous paperback refer-ence books.

Transparencies and transparency masters canbe ordered from a local dealer for 3-M productssuch as:

R. K. Black2724 N. W. 39th St.Oklahoma City, Oklahoma 73112

or:

Fairview Audiovisual1515-B S. Sheridan Rd.Tulsa, Oklahoma(Attention: Pat Whirr)

Ramboz, I. W. Spanish Program MaterialsBanks Upshaw & Co.Dallas, Texas

Taylor, Maurie N.Classroom Games in Ft Pilch

National Textbook Co.Skokie, Illinois 60076

Grobe, Edwin P.300 Word Gaines for Foreign Language Classes

J. Weston WelchPortland, Maine

Grobe, Edwin P.175 Activities for Foreign Language clubs

J. Weston WelchPortland, Maine

Wagner, Rudolph F.Lingua Games

J. Weston Watch, 1962Portland, Maine

Wagner, Rudolph F.A Conversational Approach to Foreign Lan-guage LearningJ. Weston WalchPortland. Maine(J. Weston Watch Co.P.O. Box 658Portland, Maine 04104)

31

A FEW PROFESSIONAL BOOKS

Brown, Lewis and HarcloroadA-V Instruction: Materials and Methods, Third

edition. McGraw-Hill.This is a superior instruction manual for making

transparencies and other materials. It also givessome theory.

Valette, Rebecca M.Modern Language Testing: A HandbookHarcourt, Brace and World, 1967A genuine "must" for your personal collection.

Excellent and most useful.Decanay, Fe R. and J. D. BowenTechniques and Procedures in Seco. .1 Language

Teaching PCLS

Monograph #3Available only from Oceana Publications, Inc.

Dobbs Ferry, New York.A practical manual for teaching English as a

second language. It literally has hundreds ofadaptable ideas and would be a bargain at twiceits price of $7.50.

Rivers, WilgaTeaching Foreign Language SkillsUniversity of Chicago Press, 1969.A fine book of theory clear, understandable

and applicable.

Lee, W. R.

Language Teaching Games and ContestsOxford University Press, 1968. (1.15 from Ox-

ford University Press, Fair Lawn, New Jersey)An outstanding collection of games and other

techniques.

Mackey, W. F.Language Teaching AnalysisLongmans, Green and Co.

A real encyclopedia of theory.

Lohmann, Idella, editor(Oklahoma Curriculum Improvement Commis-

sion)

EVALUATION

The editors hope that everyone using Recipesfor Teaching has been able to profit from at leastone of the techniques and ideas that it presents.

We hope to produce subsequent editions of Reci-pes for Teaching and we ask you the favor ofenhancing their value by making your own con-tribution to the next one or by sending us yoursuggestions for improvement of subsequent edi-tions.

The editors want to know which ideas the teach-ers find most useful. They also want to knowwhether suggestions woilz and whether the sourceslisted are accurate and worthwhile.

Feel free to write an informal note and sendit to:

Mrs. Patricia HammondCurriculum Specialist for Foreign LanguagesState Department of EducationState Capitol BuildingOklahoma City, Oklahoma 73105