making people listen
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The Case of the Disappearing Case
I'm through Customs and Passports and on my way to my final destination. I've already walked out of the lift when I realize I’ve left my suitcase behind. I turn round to get it but the lift doors have already closed and the lift has gone. I freeze as the emptiness sets in. The lift has gone, my bag in it. I'm bagless and liftless. Where has it gone I wonder? Where have they both gone?
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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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The Card Sharp
When telling a story, it is essential to create an audience who feel compelled to pay attention. In exploring the theme of The Oral Tradition recently, certain memories have popped up which show how instructive everyday situations can be in developing an understanding of how this tradition works. Here's a memory of a card-sharp (or card-shark, if you prefer) from when I was 7 or 8 years old.
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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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A voice to be reckoned with
I first noticed John Trudell in 1992, the year he released a CD called AKA Grafitti Man. It was the wind and fury of "Rockin the Res", heard on the radio, that stopped me in my tracks. His was a voice : almost conversational but somehow assertive. He seemed to be talking about life as he experienced it, but also something wider. And wilder. The tension and poetry made you sit up and listen, and the music made you want to dance even if you didn't know how. Want to know more? Discover John Trudell here.
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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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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.
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Making people listen
This is a story about primary orality : thought and expression untouched by the culture of writing or print. There are places where language takes root, grows and generally has a field-day. Street markets are full of people who use language to make us listen. Want to know more about the price of cabbages and today's unbeatable offer on sheets and towels? Read on, dear reader.
