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What makes practice meaningful?

Rachel Hawkes

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Rachel Hawkes

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NCELP team

Director: Prof Emma Marsden (University of York)

Co-Director: Dr Rachel Hawkes (Cam Academy Trust)

Resource developers

Dr Inge Alferink�Nick Avery

Natalie Finlayson

CPD providers

Victoria Hobson�Stephen Owen

Tech team for Gaming Grammar

Andy Wood�Dr Nick Sephton

Tech team, �Resource Portal

Dr Frank Feng�Dr Sebastian Pelucha

Research and CPD specialists�

Prof Suzanne Graham (University of Reading)�KS2-3 transition, literature, meaningful practice��Dr Rowena Kasprowicz (University of Reading)�KS2 knowledge about language, grammar��Prof René Koglbauer (University of Newcastle)�School FL policy, leadership training, CALL��David Shanks (Harris Federation)�School FL policy, CALL, differentiation��Dr Robert Woore (University of Oxford)�Teaching and learning phonics, reading, vocabulary

Management and administration

Ann Mannion, Heather Bradley, Wendy Burns

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Rachel Hawkes

An quick intro to the NCELP team, both in York and around the country.

In November 2016, the Teaching Schools Council published the Report of the MFL Pedagogy Review .

The report noted that only a third of pupils achieves a languages GCSE at grade 4 or above and that less than a half of pupils even takes a language GCSE.

Research has shown that poor motivation in studying a language is partly due to pupils feeling that they do not know the language and feeling that they are not making progress.

The National Centre for Excellence for Language Pedagogy (NCELP)’ s approach to FL pedagogy is both research- and practice-informed, taking into account the time-poor context of curriculum FL learning in English classrooms.

The pedagogy helps pupils establish, early in their course, a robust knowledge of basic vocabulary, grammar, and the sound and spelling systems (phonics). The pedagogy then reinforces this knowledge via planned practice in using the knowledge during meaningful activities Anon. 2016. Modern Foreign Languages Pedagogy Review. A review of modern foreign languages teaching practice in key stage 3 and key stage 4. (Chair: Ian Bauckham). Teaching Schools Council

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FAQ in schools this year

What is the essential knowledge in your subject?
Why are you teaching it in this order?
Is teaching clear and do learners understand?
Do they remember more, know more and can they do more? (And how do you know?)

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Rachel Hawkes

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Essential language knowledge �(for beginner language learners)

phonics

vocabulary

grammar

Pupils need to gain systematic knowledge of the vocabulary, grammar, and sound and spelling systems (phonics) of their new language, and how these are used by speakers of the language. They need to reinforce this knowledge with extensive planned practice and use it in order to build the skills needed for communication. (MFL Pedagogy Review, p.3)

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Rachel Hawkes

Q1: What is the essential knowledge in your subject?

Essential language knowledge for beginner language learners�Three strands of phonics, vocabulary and grammar – metaphor of a braid.

I don’t think there’ll be much disagreement that these are the essential pillars of language knowledge.

Why the braid metaphor?

knowledge stronger because of the interconnections
unfinished, yet still clearly stronger than one strand by itself
each strand affects the other - closely intertwined
still prone to unravelling (i.e. memory degrading) if you are not careful to keep hold of the ends and keep drawing them together
you can add more strands as proficiency develops (pragmatic competence - register, genre, cohesion)
and language (any one of our many languages, including our first) is really organic - growing and changing all the time
like a hair plait, this braid can be restyled
it can also be CUT - but the roots are still there ... some lovely evidence of a language learned in infancy still speeding up reactions to the words late in life, even though language was never heard in the interim
you can use a hair braid for all sorts of purposes - whip someone round the face or flick it to flirt�

Braid image:

By Chris 73 / Wikimedia Commons, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=10484

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What is practice?

the whole journey between first encounter and fully independent use

What makes practice meaningful?

when it is not mechanical, i.e., when you can’t complete it without thinking about the meaning as well as the form

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Rachel Hawkes

What is practice and what is practice for?�Practice is the learning journey from the first encounter with new language to its mastery for independent use. Without it, sounds and letters can be seen or heard, yet quickly forgotten, so practice is the route to retention. Without it, perception and production can lack understanding, so practice is about meaningful processing of knowledge. Without it, production (in speaking and writing) remains stubbornly slow and difficult, so practice develops automatization and confidence. In other words, practice is a wide array of activities that are “engaged in systematically, deliberately, with the goal of developing knowledge of and skills in the second language” (DeKeyser, 2007, p.8).

What makes practice meaningful?

Practice is meaningful when it is not mechanical, i.e. when learners need to attend to meaning as well as form (Paulston, 1970). The aim is to bring together language that has been learnt over time for the purposes of meaningful communication. This happens most successfully after a lot of meaningful, structured practice.�The ‘meaningful’ aspect of this practice is the fact that the student cannot complete the task without fully understanding (connecting form with meaning) what s/he is saying.

Structured receptive practice is often under-represented in classrooms and textbooks. More usual are comprehension tasks that focus on understanding key words or ‘overall messages’ that can be deduced from a number of cues.

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How much practice is needed?

the more the better
1^st language - 17,000 hours of exposure by age of four
2^nd language in classroom - 450 hours approx. over five years
in time-poor classroom context, every moment of practice counts

(Roffwarg et al., 1966, cited in Collins & Muñoz, 2016)

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Rachel Hawkes

How much practice is needed?

In short, the more, the better. In their home language, children are exposed to more than 17,000 hours of exposure by the age of four (Roffwarg et al., 1966, cited in Collins & Muñoz, 2016). However, in the secondary foreign language classroom in England, learners typically have around 450 hours of learning over five years. At this rate, it would take 189 years for learners to have the equivalent hours of input as infants in the initial stages of learning their home language! Clearly, in time-poor classroom contexts, it is crucial to make every moment of practice count. It is important to identify what learners should practise and how best they should do it.

Learning is usually most successful at this stage when manipulation of language is required to fill a genuine information gap. Meaningful practice “is better at driving the brain processes that result in successful recall” (Anderson, 2005, p. 198). Furthermore, it is often preferable for learners to need to (struggle to) retrieve the key language from memory than to have it clearly in view (e.g., in prompt word lists or full writing frames).

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What types of practice work best?

frequent
spaced
meaning- and form-focused
involving an element of struggle
multi-modal

phonics

vocabulary

grammar

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Rachel Hawkes

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Essential grammar for Y7 Term 1

To give concrete examples, we need to get into the specifics of the knowledge we are trying to teach students.�Session 1 was all about vocabulary, and phonics practice is something I find a lot of teachers are already familiar with, so in this session, I want to focus more on grammar practice, which obviously offers additional practice in vocabulary and often phonics, too.

Another reason to focus on grammar practice is that there are elements of it that are under-represented in most, if not all, published courses, so these are tasks and activities that we could usefully consider for inclusion in our KS3 SOW.

So, let’s quickly brainstorm the absolute grammar essentials for a language we teach or know well.�Let’s have a brand new Y7 class in mind - they may come having been taught some grammar structures already at primary, but they may not. Either way, we’d have to start with a revisit of these, to ensure that they were firmly embedded.

I’ll give you two mins to talk to the person next to you.

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Y7 Spanish Term 1

Estar (location and state)
Ser (permanent attributes)
Adjective agreement
Yes/No questions (raised intonation)
Tener
Noun gender and indefinite articles (singular)
Plural nouns and plural indefinite articles
Regular AR-verbs in the present tense
Negation (with no)
Hay
Definite articles (singular/plural)
Dar / Querer

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Rachel Hawkes

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The indefinite article�In Spanish, the words for ‘a’ change according to whether the noun is masculine or feminine.

masculine	un perro	a dog
feminine	una tortuga	a tortoise

1 Tengo _______ gato. (m)	4 ¿Tienes _____ pez? (m)
2 ¿Tienes _____ cobaya? (f)	5 Tengo ____ hermanastro. (m)
3 Tengo _______ hermana. (f)	6 Tiene _____ serpiente. (f)

Copy the sentences and put in the correct word for ‘a’.

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Rachel Hawkes

Often grammar is practised in written grammar exercises, and usually students have a model to follow and refer to. Sometimes the practice is oral, led by the class teacher, with moment-by-moment feedback.��Do these sorts of practice tasks meet our criteria / expectations for meaningful practice?

meaning- and form-focused?

involving an element of struggle?

multi-modal?

1. Do we need to know the meaning of any of the words to do the task?�2. Do we need to remember that ‘a’ for masculine words = ‘un’ and for feminine words = ‘una’?�3. Do we have to listen and understand, read and understand, speak and understand or write and understand the meaning in these 6 sentences.�

What are the chances that that this is the best way, in a time-poor classroom context, to:

practise the knowledge of indefinite articles
develop noun gender sensitivity/awareness
remember that every noun has gender in Spanish
know that the vast majority of nouns ending in ‘o’ are masculine and in ‘a’ are feminine (if the selection of nouns had only focused on those ending is -o/-a, then the gender information in brackets could have been omitted)

So, it’s quite likely that we might say, ‘yes, I don’t tend to do those sorts of mechanical practice tasks anyway. Instead, I…. do a lot of oral work to embed the grammar’��That might look like this…

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¿Tienes mascotas? Tengo…

un gato

un perro

un caballo

un ratón

un pez

una serpiente

una cobaya

no tengo mascotas

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Rachel Hawkes

Images from www.pixabay.com

What might we do with this slide?�1. Present the vocabulary (use animations to build up to independent oral recall of the vocabulary items for a few minutes) -�2. Typically we might then do a listening - e.g. listen and put the pets in order.

E.g

¿Tienes mascotas?

Sí. Tengo un gato.

¿Tienes mascotas?

Sí. Tengo una serpiente.

¿Tienes mascotas?

Sí. Tengo una cobaya.

Etc…�3. Which grammar is meant to be in the spotlight here? the indef articles and tener…�So - if we keep the articles with the noun, the chances are that students will retain the noun word, but might forget the gender. Gender is non-salient for English speakers - we are not sensitive to it because we don’t have grammatical gender in English.�4. The use of tener (orally and in the listening) doesn’t vary - Tienes…? Tengo… Tengo…�It’s not necessary for it to be in the listening at all, for students to do the task. Students will focus on what they need in order to do the task, i.e., the meaning of the noun. ��So, from this teaching so far, we are likely to be in the process of learning some vocabulary, but we are unlikely to retain the meaning of tienes / tengo this way.�Other things make this selection of vocabulary tricky:

1. pez, serpiente and ratón do not fit the regular pattern so don’t help students establish the knowledge that nouns ending in -o/-a are generally masculine/feminine�2. caballo and cobaya sound very similar and tend to cause confusion in the early stages as students’ phonics knowledge is emergent and they can’t easily differentiate these two words in the oral modality.

3. word frequency - only gato [1728] and perro [888], caballo [907] are within 2000. �ratón [3415]; pez [3579]; serpiente [3662]; cobaya [>5000] mascota [>5000]�Source: Davies, M. & Davies, K. (2018). A Frequency Dictionary of Spanish: Core vocabulary for learners (2^nd ed.) London: Routledge

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	Word	English meaning
1	tienes	you have (singular)
2	tiene	s/he has, it has
3	tener	to have, having
4	tengo	i have
5	¿qué?	what?
6	un	a (masculine)
7	una	a (feminine)
8	una moneda	a coin
9	una cama	a bed
10	una casa	a house
11	una cámara	a camera
12	una bicicleta	a bicycle
13	un libro	a book

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Rachel Hawkes

Pre-learning of mixed word class vocabulary sets - as mentioned in my previous session.

Levels of word knowledge�1. I have seen this word before.

2. I know what the word means.

3. I can read the word aloud.

4. I can spell the word correctly.

5. I can use the word in a sentence.

�It takes time to build up to this level of word knowledge.�3] Practice of different kinds – listen and translate L2 🡪 L1, read and translate L2 🡪 L1, listen and say L1🡪 L2, read and write L1 🡪 L2 (all sorts of different combinations of modes/modalities strengthen retention and recall of new words

4] Memories fade and regular retrieval and re-visiting are needed to maintain word knowledge (mention recycling but also structured re-visiting after 3 weeks and after 9 weeks).�5] Usefulness of priming (learning vocabulary ahead of the lesson – helps students to be in a position to use language more readily in the lesson itself) – from now on, vocabulary learning will be set as pre-learning for the next lesson.��Set HW – Learn Week 5 vocabulary.

Quizlet is designed to support all of this.

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Gender in Spanish

Things, as well as people, have a gender in Spanish. This means that they are either masculine or feminine:

�Stephen Owen

Masculine

elefante

lugar

mundo

llave

idea

Feminine

casa

To say a (or an) in Spanish before a noun, you use un or una, depending on whether the noun is masculine or feminine.

un

una

an elephant

a place

a world

a key

an idea

a house

Gender in Spanish

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Rachel Hawkes

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Vocabulario

Masculine nouns (un = a)

un

barco

un

gato

un

libro

un

bolígrafo

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Rachel Hawkes

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Feminine nouns (una = a)

una

cama

una

casa

una

moneda

una

bicicleta

una

cámara

Vocabulario

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Rachel Hawkes

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un

una

Vocabulario

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Rachel Hawkes

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Vocabulary introduction

der

İPilla al intruso!

1.

2.

un

una

un

una

3.

una

un

una

4.

5.

6.

una

un

una

un

una

un

una

Vocabulario

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Rachel Hawkes

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Lire

De vacaciones

The tour guide sent you some holiday information, but it got jammed in the printer! What does it say? Choose the correct noun.

1	Una	libro	cámara	es esencial.
2	Un	barco	bicicleta	está en Bilbao.
3	Un	cámara	bolígrafo	es muy importante.
4	Una	bicicleta	barco	es útil.
5	Una	cama	libro	es importante.
6	Una	gato	casa	está en el centro.
7	Una	libro	moneda	es indispensable.
8	Un	libro	cama	es necesario.

leer

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Rachel Hawkes

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Lire

Your friend distracts you in the game! Which things are mentioned? �Circle the correct ones.

escuchar

1

2

3

4

5

Es un / una	gato / bicicleta.	Está en un / una	barco / casa.
Es un / una	bolígrafo / moneda.	Está en un / una	cama / libro.
Es un / una	libro / cámara.	Está en un / una	barco / bicicleta.
Es un / una	barco / casa.	Está en un / una	libro / moneda.
Es un / una	bolígrafo / casa.	Está en un / una	barco / cama.

¿Qué es, y dónde está?

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Rachel Hawkes

This is students’ first encounter with ‘qué’ in NCELP Y7 SoW. Some may have heard the word before (‘qué será será’, ‘¿qué pasa?’). Ensure that the meaning of this question word in the title is clear and elicit the translation of title. ��In the activity, students only have to circle the nouns. They may also circle the indefinite article, but this isn’t essential; they will have to pay attention to it, in any case, to work out which noun is correct. Alternatively, students could write 1-5 and the two correct nouns each time.

After finishing, focus on meaning and ask students if any of these sound a bit odd/unexpected!

Es un [gato]. Está en un [barco]
Es una [moneda]. Está en un [libro]
Es una [cámara]. Está en una [bicicleta]
Es un [barco]. Está en una [moneda]
Es una [casa]. Está en una [cama].

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Partner A

Es _____

2) Es _____

3) Es _____

4) Es _____

5) Es _____

Partner B

2)

3)

4)

5)

hablar / escuchar

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Rachel Hawkes

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Partner B

Es _____

2) Es _____

3) Es _____

4) Es _____

5) Es _____

Partner A

2)

3)

4)

5)

hablar / escuchar

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Rachel Hawkes

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¿Dónde está Snapcat?

You see Snapcat everywhere! Write where he is. �Choose the word for ‘a’ carefully.

escribir

Está en una bicicleta.

Está en un barco.

Está en una cama.

Está en una casa.

Está en un libro.

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Rachel Hawkes

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What types of practice work best?

frequent
spaced
meaning- and form-focused
involving an element of struggle
multi-modal

phonics

vocabulary

grammar

Material licensed as CC BY-NC-SA 4.0�

Rachel Hawkes

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Me llamo Mia y vivo en Arequipa, en Perú. Tengo catorce años. Tengo dos hermanos y una hermana.

Me llamo Daniel y vivo en Bogotá, en Colombia. Tengo trece años. Tengo dos hermanas y un hermanastro.

Me llamo Santi y vivo en Montevideo, en Uruguay. Tengo once años. No tengo hermanos. Soy hijo único.

1 _________ lives in Colombia.
2 Mia lives in _________.
3 _________ is eleven years old.
4 Mia has two _________ and one _______.
5 _________ has no brothers or sisters.
6 Daniel has two _________ and one_______.

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Rachel Hawkes

And if we turn to ‘tener’ �I haven’t been able to find a published resource that has listening, reading, speaking and writing practice tasks that focus on understanding and using TENER.�It’s straightforward to find texts that feature TENER (alongside other features - e.g. reflexive verbs, ER-regular verbs, plural and singular nouns, definite and indefinite articles.

There are six examples of the verb tener in these texts. How many of them are task essential? Which questions require students to know that ‘tengo’ means ‘I have’?�And what do we do about that fact that in three of these six examples, ‘tengo’ actually translates as ‘I am’.

In these texts we have a number of grammar features represented but none of them is task essential.

To what extent do reading (and listening) comprehension tasks like this support students’ learning of grammar?�In this typical reading comprehension task, it is very easy to avoid any engagement beyond the lexis, i.e., avoid processing, therefore avoid learning, the grammar.�Could we make more efficient use of limited lesson time (i.e. get more learning for our time!) if we could include listening and reading tasks that make the grammar essential.�How might they look?��

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escuchar y escribir

		Object	Description

1

2

3

4

5

6

7

8

En la maleta…Mrs Organised is going on holiday with Mr Organised. �Who has what in each suitcase? Tick I have or you have.

I have

you have

mad (now)

famous

new

high

famous

new

Victoria Hobson / Nick Avery

fantastic

white

boat

bicycle

cat

book

coin

bed

pen

camera

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Rachel Hawkes

Teachers need not print the slide. Students could use their ex books to write their responses.

Ask students if there are any surprising items in their suitcases (gato, barco!). In checking the descriptions, students might be encouraged to notice adjective agreement (from the previous week). This point may only need to be noted in passing, or teachers may wish to make more of the explanation as a teaching point, depending on the profile of the group.

See if students can distinguish the temporary state in item 3 (“está loco”) from the general attributes (‘es famoso’, ‘es blanco’ in the others)

To focus on sound-spelling correspondences, students could also listen again and transcribe the sentences.

TRANSCRIPT:

Tengo un barco. Es fantástico.
Tienes una bicicleta. Es blanca.
Tienes un gato. Está loco.
Tengo un libro. Es famoso.
Tengo una moneda. Es nueva.
Tienes una cama. Es alta.
Tengo un bolígrafo. Es famoso.
Tienes una cámara. Es nueva.

�

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		Daughter (‘I’)	Her brother (‘you’)
1	Tengo una moneda y un bolígrafo
	Tienes una bicicleta y una cámara
2	Tienes una casa y un gato
	Tengo una cámara y una moneda
3	Tienes una cama y un libro
	Tengo un gato y una cámara
4	Tengo un libro y un bolígrafo
	Tienes un barco y una casa
5	Tienes una cama y un barco
	Tengo una bicicleta y una casa
6	Tienes un gato y un libro
	Tengo un libro y una moneda

leer

Their children are also going. Their daughter is messaging her brother.�Write who has what in the correct column.

coin

pen

bike

camera

coin

house

cat

camera

bed

book

pen

boat

house

bike

house

bed

boat

book

coin

cat

book

Victoria Hobson / Nick Avery

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Rachel Hawkes

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		Pepe	Paula
1	Tiene un barco y tengo una cámara.
2	Tengo una bicicleta y tienes un libro.
3	Tiene una casa y tengo un barco.
4	Tengo una moneda y tiene un bolígrafo.
5	Tengo un gato y tienes una cama.
6	Tiene una bicicleta y tengo una cama.

leer

Pepe is talking to a friend (‘you’)about belongings. Pepe also mentions what his sister Paula has. Write the item in English that each person has.

I have

she has

Victoria Hobson / Nick Avery

You have

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Rachel Hawkes

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Partner A

1)

2)

3)

4)

5)

Partner B

………………….a house

………………….a bike

…………………..a pen

………………….a boat

……………….a camera

S/he has

I have

You have

S/he has

I have

Victoria Hobson / Nick Avery

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Rachel Hawkes

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Partner B

1)

2)

3)

4)

5)

Partner A

………………….a cat

………………….a book

…………………..a pen

………………….a coin

……………….a bed

You have

S/he has

I have

S/he has

Victoria Hobson / Nick Avery

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Rachel Hawkes

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What types of practice? Summary

Practice in hearing and reading the grammar (contrasting pairs of features that change meaning)
Practice in writing the grammar (actively choosing the grammar to use)
Practice in speaking the grammar (speaker and listener are both ‘using’ language)
Multi-modal activities (e.g., dictogloss; listen to and read a text then write or say the next word when audio stops; dictation)

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Rachel Hawkes

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Working with authentic texts

an additional source of intrinsic interest (whether text is fact or fiction)
the enjoyment of hearing and reading different rhythm, rhyme
the opportunity to revisit phonics, vocabulary and grammar in new contexts
the chance to learn additional vocabulary, incidentally
the requirement to work with some unfamiliar language
the opportunity to use known language for a different type of production

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Rachel Hawkes

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La plaza tiene una torre

Antonio Machado

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Rachel Hawkes

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Text title	La plaza tiene una torre
Author	Antonio Machado
Suggested teaching	Y7 Term 1.1 Week 6
Number of lessons	2 lessons (50-60 minutes)

Text composition
Total number of words �(including words that are repeated)	53
% known words �(if following NCELP SOW)	45%
% words in most frequent 1000 words*	77.4%
% words in most frequent 2000 words*	77.4%
% words in most frequent 3000 words*	92.5%
% words outside of most frequency 5000 words*	---

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Rachel Hawkes

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La plaza tiene una torre,

la torre tiene un balcón,

El balcón tiene una dama,

La dama una blanca flor…

Hoy leemos un texto. ¿Qué tipo de texto es?

¿Un artículo?

¿Una novela?

¿Un poema?

Nick Avery & Rachel Hawkes

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Rachel Hawkes

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La plaza tiene una torre,

El balcón tiene una dama,

la torre tiene un balcón,

La dama una blanca flor…

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Rachel Hawkes

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El autor: Antonio Machado (1875-1913)

Nace en Valencia
Estudia en Madrid
Viaja mucho a Francia
Habla francés

Image by spainisculture is licensed under CC BY-SA 4.0

Intereses

Biografía

La memoria
La reflexión
El romance

Nick Avery & Rachel Hawkes

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Rachel Hawkes

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¿Quién es Antonio Machado?

A

B

C

Nick Avery & Rachel Hawkes

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Rachel Hawkes

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¿Cómo está en la foto?

Está serio
Está alegre
Está raro

Nick Avery & Rachel Hawkes

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Rachel Hawkes

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Palabras importantes

plaza (f)	square
balcón (m)	balcony
dama(f)	lady
blanco	white
flor (f)	flower
torre	tower
caballero (m)	gentleman, knight
su	his/her/its
quién	who
saber / sabe	to know / knows
pasar / pasa	to pass / passes
llevar / lleva	to carry, to wear / carries, wears

Nick Avery & Rachel Hawkes

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Rachel Hawkes

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Ahora escuchar el poema

¿Cómo está la narradora?

tonta
rara
alegre
nerviosa
tranquila
seria

Nick Avery & Rachel Hawkes

escuchar

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Rachel Hawkes

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Completa esta parte del poema con LA o UNA

La plaza tiene ____ torre, �____ torre tiene un balcón, �

una

La

Nick Avery & Rachel Hawkes

escribir

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Rachel Hawkes

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La torre tiene ___ balcón, �___ balcón tiene una dama, �

Completa esta parte del poema con EL o UN

un

El

Nick Avery & Rachel Hawkes

escribir

Material licensed as CC BY-NC-SA 4.0�

Rachel Hawkes

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Completa esta parte del poema con LA o UNA

el balcón tiene ____ dama, �____ dama una blanca flor.

una

La

Nick Avery & Rachel Hawkes

escribir

Material licensed as CC BY-NC-SA 4.0�

Rachel Hawkes

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dos posibilidades

una adaptación oral del poema en grupo
una versión moderna (escrita) del poema

Nick Avery & Rachel Hawkes

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Rachel Hawkes

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Towards freer, meaningful practice

Contingency - the speaker (or writer) has something to say as a result of understanding what has been said (or written)
Synthesis – language use brings together a wider range (lexical and/or grammatical) of language than in preceding structured practice, across modes (comprehension and production) and modalities (oral and written)
Extension – the same language and structures are used in different contexts and for different communicative purposes
Choice – the learner has a greater level of autonomy in deciding what to say and how to say it

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Rachel Hawkes

Over time and after sufficient practice, language stored in memory is accessed more rapidly and with less conscious effort. This process facilitates a gradual move towards freer, meaningful production practice. Characteristics of tasks at this stage of practice are likely to be:

Contingency - the speaker (or writer) has something to say as a result of understanding what has been said (or written)

Synthesis – language use brings together a wider range (lexical and/or grammatical) of language than in preceding structured practice, across modes (comprehension and production) and modalities (oral and written)

Extension – the same language and structures are used in different contexts and for different communicative purposes

Choice – the learner has a greater level of autonomy in deciding what to say and how to say it

�This ‘letting the language out of the box’ is most likely to be successful if it follows sufficient, structured practice. It is important to note that types of task sit on a continuum of structured to freer practice. It is often the extent of the range of structures and vocabulary required by the task that determines the level of challenge.

After individual features have been thoroughly practised, start to increase choice of language and to reduce the ‘constraints’.

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¿Dónde estás?

Persona A (pregunta):

Un ejemplo

Persona B (contesta):

Estoy en San Sebastián.

¿Qué hay?

Persona A (pregunta):

Hay un bar y un museo. El museo está entre dos casas.

Persona B (contesta):

Persona A (escribe)

Y7, Term 1.2, Week 5

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Nick Avery

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There is shop and a market.

The market is expensive

There is a bank and a theatre.

The theatre is small.

There is a museum and a church.

The church is near.

There is a boy and a girl.

The girl is nice.

There is a square and a school. The school is in the square.

Granada

Bilbao

Madrid

Valencia

Málaga

Persona A

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Nick Avery

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There is a bar and a museum.

The bar is between two houses.

There is an art centre and a theatre.

The theatre is expensive.

There is a market and a shop. The shop is cheap.

There is a school and a church. The school is very good.

There is a bank and a museum. The museum is in the centre.

San Sebastián

Oviedo

Segovia

Barcelona

Salamanca

Persona B

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Nick Avery

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	¿Qué hay?	Información extra
Granada
Bilbao
Madrid
Valencia
Málaga

	¿Qué hay?	Información extra
San Sebastián
Oviedo
Segovia
Barcelona
Salamanca

Persona A

Persona B

Un bar, un museo

El museo está entre dos casas.

Un centro de arte, un teatro

El teatro es caro.

Un mercado, una tienda

La tienda es barata

Una escuela, una iglesia

La escuela es muy buena.

Un banco, un museo

El museo está en el centro.

Una tienda, un mercado

El mercado es caro.

Un banco, un teatro

El teatro es pequeño.

Un museo, una iglesia

La iglesia está cerca.

Un chico, una chica

La chica es simpática.

Una plaza, una escuela

La escuela está en la plaza.

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Nick Avery

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https://resources.ncelp.org/

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Rachel Hawkes

Slide 2 will be a brief introduction to NCELP – fusing research and practice more closely than has previously been possible.�Stress the importance of both practitioner knowledge and research – one is no substitute for the other, both are necessary and complementary.

In November 2016, the Teaching Schools Council published the Report of the MFL Pedagogy Review .

The report noted that only a third of pupils achieves a languages GCSE at grade 4 or above and that less than a half of pupils even takes a language GCSE.

Research has shown that poor motivation in studying a language is partly due to pupils feeling that they do not know the language and feeling that they are not making progress.

The National Centre for Excellence for Language Pedagogy (NCELP)’ s approach to FL pedagogy is both research- and practice-informed, taking into account the time-poor context of curriculum FL learning in English classrooms.

The pedagogy helps pupils establish, early in their course, a robust knowledge of basic vocabulary, grammar, and the sound and spelling systems (phonics). The pedagogy then reinforces this knowledge via planned practice in using the knowledge during meaningful activities Anon. 2016. Modern Foreign Languages Pedagogy Review. A review of modern foreign languages teaching practice in key stage 3 and key stage 4. (Chair: Ian Bauckham). Teaching Schools Council

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Rachel Hawkes