The Subjective Classroom
Things get much more interesting in the subjective classroom. Here, there are moments of teacher-centredness and there is required course content to be covered but the approach is collaborative. We think about the what but also the why of learning because we are constantly in connection with the real world.
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Mario Rinvolucri, Master Teacher
Mario Rinvolucri, master teacher, passed away this week at the age of 84. He opened the door to teaching English as a Foreign Language for me. Then, once inside, he showed me how to open the windows and let in the light. He loved nothing more than a noisy classroom humming with conversation. He was one of a kind.
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Look and say
I learnt to read at school. At first, that meant reading out loud while somebody listened. It was a public experience. This oralizing from words on a page felt strange but exciting, as if something was passing through me from the page to the sounds I uttered. It was like being part of something new. Although the ultimate goal would be to read silently, Mr Harding, a primary school teacher, reminded us that we could still sometimes break that rule.
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So what is the Subjective Classroom?
Once it is up and running, the subjective classroom is a busy place in which everybody is invited to contribute actively. The focus is on developing skills applied to meaningful content. Individual contributions are essential to the construction of what goes on, and people participate once they understand their voice matters. This is by no means simple for people more familiar with a more directive, objective classroom, but helping them change their perspective, even partially, is a mutually enriching process.
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Benjamin Zephaniah, outspoken word artist
Benjamin Zepahaniah, British Carribean dub poet, actor, recipient of no fewer than 16 honorary doctorates, professor of poetry and creative writing, left us yesterday. Already gone, but his work lives on. He encouraged people to read and he made people listen. Here's one of his poems, Talking Turkeys, ready for use in the Subjective Classroom. Bon appétit!
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Saying it in your own words
To use or not to use ChatGBT : that is the question for a connected world to answer. Here is a report from the Subjective Classroom which looks at precisely this, but in a way that turns the tables on the usual interaction with the AI robot. This report gives you Marvin Gaye, Roman Jakobson and ChatGBT all in the same text. Huh? Yes, that is what you read, and there are more surprises waiting for you. Welcome to intralingual translation in the age of artificial intelligence with "I Heard It Through The Grapevine" as the original soundtrack.
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Smoke Signals in the classroom
Storytelling in the language classroom is a powerful tool. But what happens if nobody wants to listen? Or if, at least, that's how it feels? The problem is often not with the story. It's about the smoke signal you're sending out : people can't see the signal, all they can see is the smoke. Here are some ways to change that.
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Slow down, teacher, enjoy the journey
As a beginning teacher, I regularly had uncomfortable moments in class when I suddenly realised that everyone was listening to me. I could command people's attention in such moments, but was slightly overwhelmed by being the focus. I didn't exactly panic. However, I did feel myself reel a little as a rush of energy caused a slight dizziness to the head, coupled with a sense of a sudden stuffiness in the room. It was like being caught in a traffic jam of my own making. The flow was gone. All I could do was pull over to the side of the road for a moment and let the flow pick…
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Teacher’s voice – friend or foe?
Whatever your subject, your style, approach, teaching involves speaking in public. Beginning teachers often become aware of the sound of their voice for the first time in their lives in the classroom. So, teacher, how do you feel about the sound of your voice? Friend or foe? Let's get to work on precisely that question.
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We all know stories
We all know stories. But how can they become part of classroom learning? When I first fell into teaching English as a Foreign Language (EFL) in 1981, John Morgan and Mario Rinvolucri were already developing their ideas on the use of storytelling for the language classroom. A chance encounter with Mario Rinvolucri would set me up for a life with storytelling in the classroom. Here's how it happened.
