Following on from the excellent MaWSIG pre-conference event, I ended up going to quite a few more talks related to materials writing during the conference. Here are summaries of said talks.
Designing materials: from theory to practice? – Sonia Munro and Susan Sheehan
Sonia and Susan work on the MA TESOL at the University of Huddersfield. The course originally had only a traditional dissertation at the end of it, but they have now added the option of a more practical materials design project rather than a dissertation. Students have to create 15 hours worth of classroom materials for a specific context and do a 30-minute viva. The only course participants who now do a dissertation are those who are required to do so by external forces, such as those who are being funded by a Ministry of Education. All others opt for materials design.
Why did they choose to offer this alternative? Feedback on the dissertation module was not as positive as for other modules on the MA, with participants complaining that they couldn’t collect the necessary data from their students over the summer. Materials design doesn’t just help those who are creating materials; it also helps teachers to be more critical when choosing materials for their students.
The viva allows participants to show the theoretical underpinnings of their materials, but Sonia and Susan noticed that there was a huge range in the ability of course participants to do this. Tomlinson (2003) mentions that many established writers start with intuition based on their own experience in the classroom, but MA students don’t have that luxury and must demonstrate that they have clear reasons for their materials design. In the viva, they have to present their materials and demonstrate the theory behind them, then participate in a discussion building on this. Some participants could do this easily, but others were unable to demonstrate any awareness of theory at all. To be successful, they need to:
- Draw on a wide range of sources, not just readings suggested by tutors;
- Demonstrate critical engagement with theories and sources;
- Show a clear relationship between theory and practice, demonstrating they understand this;
- Analyse materials that are typically used in their context and use these as a springboard for their own materials;
- Notice the good points and limitations of the materials they use as a reference;
- Show an awareness of their context: What are the constraints? Are these materials appropriate?
These are the main problems their MA students had in the viva:
- Only citing a narrow range of authors.
- Not referring to SLA (second language acquisition) theorists.
- Sticking to authors writing about materials design only.
- Not referring to authors specific to their context (e.g. EAP).
- Not mentioning issues like Global English or English as a Lingua Franca.
- Conflating literature and theory and not going deeply enough into the theory.
- Not demonstrating enough criticality: for example by comparing authors or mentioning the weaknesses of the research. Being quite superficial.
To increase the students’ engagement with theory, Susan and Sonia would like to:
- Make the use of theory more explicit and show students how to find theory more usefully.
- Emphasise that theory is the core of the module.
- Stop students from getting lost in the aesthetics of the materials – they tend to spend too long on this and not enough time on the theory.
- Train students to do better literature searches.
I haven’t done an MA yet, but would like to at some point in the future, so I think this will come in very useful when I get to that stage.
Frameworks for creativity in materials design – Jill Hadfield
I’ve been connected to Jill on facebook for a while, and she’s been able to help me out a couple of times, so I went to this talk to be able to meet her in person for the first time. It gave me lots of ideas for potential workshops in the future, and furthered my understanding of some of the principles behind materials design, following on from the talk above. It’s also encouraged me to consider in more depth the principles I believe in/follow/use (What’s the right verb?!) when designing materials, teaching, and training.
When Jill was writing her latest book, Motivating Learning [affiliate link], with Zoltan Dörnyei, she started keeping a reflective journal to help her uncover the principles behind her own writing. She then analysed her journal and categorised her comments to try to find underlying patterns. She was motivated to do this by theorists who posited that materials writers tend to rely on intuition rather than theory, but as she said “We do have principles, but we’re too busy writing materials!”
Jill divided up the principles from her journal into two areas: framing principles and core energies. Framing principles ask questions like ‘What makes good materials?’ Here are some of Jill’s examples:
They are a kind of limit, and you shouldn’t include anything which does not adhere to one or more of these principles. In contrast, core energies suffuse your work. They are the underlying themes of your materials, which resurface again and again, but may not be obvious in every activity. In Jill’s journal, these were Affect, Creativity and Play. The example Jill gave to show the difference between the two types of principle was that she believes all activities should be communicative (framing principle), but that there are times when activities should be cognitive, logical or serious depending on the aim (which could be seen as contradicting some of her core energies).
In analysing her journal, Jill realised that she wrote most when she was dealing with problems, and very little when the writing was going smoothly. She seemed to have a lot of tacit principles underlying her writing. Here are some of them:
- Does this activity fulfil the aim in the best possible way?
- Is the staging in the best logical sequence?
- Does staging scaffold the students by providing achievable steps?
- Are the groupings appropriate to the task and do they provide variety and balance of interaction?
She also noticed a system of checks and balances that stopped her forward progress at times. These included trying out the materials by putting herself in the position of the teacher (imagining), the student (trying out), or the writer explaining the materials to the teacher (dialoguing). Through this process, she sometimes discovered that her activities didn’t do what she wanted them to, which meant she had to rethink them.
Once she has finished writing, Jill uses checklists based on questions formulated from her principles. These help her to ensure quality, coverage (a range of activity types/interaction patterns etc) and analyse covert syllabuses (a hidden agenda). Covert syllabuses can be positive, for example by promoting rapport within the group through activities focussing on dynamics and groupwork, or negative, such as those implied by the kind of images that might be chosen to illustrate a course book (see Ben Goldstein and Ceri Jones’ talk at the MaWSIG PCE).
Jill shared lots of possible tasks which you could do to examine your own priniciples, or which could be used as the basis for workshops. Here are just a few examples:
- Pyramid discussion, where participants first detail their own principles relating to materials design, then compare them with others.
- Look at the principles you have related to classroom practice and consider them in more depth. Which of them are supported by research? Which of them do not seem to have theoretical support? Why do you think this is?
- Give participants a range of different activities from published materials, chosen to demonstrate a range of writing styles. Analyse how much they like doing the activity, how often they create similar activities and how much they like creating that kind of activity.
- Analyse the principles you have come up with in more depth. What are the potential advantages and drawbacks of having these as principles? Can these principles be justified by theory and classroom practice? What questions should you ask yourself about being driven by personal preference in your writing?
- Dialoguing: participants work in pairs, with one as the classroom teacher and the other as the materials writer. The writer must justify their design decisions to the teacher. Record the conversation, play it back, and see if there are any decisions the writer wants to rethink.
- Imagining: go through the activity step-by-step, as if you’re using it in class. Record yourself talking through the process, then listen back and analyse it critically. Is there anything you would change?
- Trying out: put yourself in the students’ shoes. Record your interactions. Listen back and ask yourself questions. For example: Did the activity produce the language required? Did it produce enough of it? Was it engaging? Did everyone have equal turns?
- Spoken protocols: participants design an activity and verbalise their decisions as they make them. Record this and listen back, with participants trying to verbalise what unspoken design principles are influencing these decisions.
- Take an activity you have designed and try altering one element, for example, changing it from a pair to a group task. What effect does this have?
- Develop your own checklists based on the principles you have uncovered. Use them!
Uncovering culture – Ben Goldstein and Ceri Jones
When Ben and Ceri started teaching, cultural content in coursebooks looked very different. It tended to reflect and/or reinforce cultural stereotypes, drawing on students’ prior knowledge of the world. There was a lot of pop anthropology or negative etiquette, ‘othering’ the cultures discussed by distancing students from it: ‘They do it like this, not like you do.’ It also reinforced the idea that everyone in a country acts in the same way: ‘Americans eat fast food’. Subliminal cultural content was also common, for example in the choice of images used.
Ceri and Ben wanted to move from this global, stereotypical image of culture, making it more relevant to the students’ lives, combining the global and the local to make it ‘glocal’. For example, rather than an article describing food of the world, including McDonalds as the food of the USA, you could:
- Compare menus served by McDonalds in different countries.
- Question what junk and healthy food really is.
- Look at the designs of McDonalds restaurants, and how they differ around the world, for example the McCafé.
- Find local news articles featuring McDonalds.
Continuing the food theme, try exploiting these food flags, designed for the Sydney Food Festival. Each image showcases food typical of that country. Students can identify the food, then decide whether they think it really does represent the country. Finally, they create a flag for their own country and other students discuss whether it’s truly representative.
Image from peacechild.org
‘Breaking’ stereotypes in this way can be a very productive exercise in the classroom. Something similar can be done with postcards too: do they reflect true experiences of what it is like to be in the country?
Ben and Ceri have written various course books together. The most recent are the Eyes Open series, written for secondary school students and published by Cambridge University Press. They have used ideas to exploit culture throughout, and showed examples like this one during their presentation.
There is a move away from stereotypes, showing a more multicultural view of Britain. Texts also have links to the outside world, so that the restaurant mentioned is a real place which students can visit the website of if they want to.
You need to build a bridge between the materials on the page and the lives of the students. One way to do this is to have the voices of ‘insiders’, rather than ‘outsiders’, talking about their own cultures. The example Ben and Ceri gave was a video about dabbawallas in India, leading on to a discussion of whether this system would work in the students’ own countries: What kind of food would they include in the boxes? Who would cook it?
Another avenue for uncovering culture is to emphasise the trans-cultural flow of ideas, rather than separating out cultures artificially. One way to do this is through YouTube videos and the associated comments, like those by Bethany Mota, who often shares videos about food. The ‘unboxing‘ meme is a productive one, and this video of an American opening a pizza in Korea gives lots of language students could draw on to make their own video, making the connection to their own lives and culture.
Here is an abridged version of Ben and Ceri’s slides.
Can a picture tell a thousand words? – Hugh Dellar
You might think that this metaphor is as old as the hills, but according to Hugh’s research, it was actually coined about a century ago by an advertiser in the USA trying to sell advertising space on the side of trams! Hugh decided to continue this theme by advertising too, in this case the new edition of Outcomes, which he co-wrote with Andrew Walkley. 🙂
Hugh’s attitude to the use of images in materials has developed over his writing career. Originally he thought they were just a way of breaking up the page, and that the focus should be on language, because this is what students learn from. When his publisher changed and he was asked to incorporate more National Geographic content into his materials he was initially reluctant, associating them with doctors’ and dentists’ waiting rooms and pain! He also highlighted the fact that although many of their images are beautiful, they aren’t necessarily great for generating language. They say 1000 words, so you don’t have to. Instead, he finds images which have the potential to ‘bring 1000 words into being’ much more useful.
So what are the functions of the image in the ELT classroom?
- To illustrate the meaning of lexis. Learners can label things, but it’s not great for longer phrases.
- To test whether students have remembered lexis. This is great for nouns, but not so good for things which are more abstract.
- Prompts for grammar drills. Hugh mentioned ‘English for voyeurs’, which is true whenever you use images to practise the present continuous!
- To check receptive understanding (e.g. choose the picture which shows…)
- To set the scene.
- To generate language and ideas.
- To generate discussion, stories, opinions, etc.
The last three are the ones which are the most fruitful, but they require a certain type of image, preferably with some kind of ambiguity or something unstated.
In Outcomes, the picture above is used to introduce a unit on business. One of the discussion points is why there are no women shown. It then leads on to a unit about business, including making phone calls.
The same principles which apply to images could also be used for videos. Again, just because it’s on YouTube, doesn’t make it interesting. There is no guarantee that the language in the video is intelligible, appropriate for the level of your students, or will ever be used by them again. Once you’ve found a suitable video, you still have to write the materials to go with it too! This is where video content accompanying coursebooks comes in. In Outcomes, video is exploited in a variety of ways, not just for traditional comprehension tasks. It’s also a way of improving students listening skills by analysing small chunks of language, and then attempting to reproduce them to experiment with their pronunciation.
You can watch the whole 30-minute presentation on YouTube.
MAWSIG Open Forum
The Materials Writing SIG has gone from strength to strength since it started a couple of years ago. At the open forum, they updated us on what has been happening over the last year and their plans for the next year, including MaWSIG May, a series of webinars which happened very successfully last year and which they would like to repeat. They also held a raffle, and this happened 🙂
All of these talks have given me a strong incentive to examine the principles behind materials design in more depth, which is something I hope to do if and when I ever get round to doing an MA! I really like the idea of the Anglia Ruskin course, which focuses heavily on materials design, but unfortunately it’s only available face-to-face and I can’t afford it at the moment. One day…