Creating Classroom Interactions

1. Creating Classroom Interactions Using the European Language Portfolio

2. Session Outline • Work in small groups classifying the Common European Framework of Reference descriptions • How do we measure up in these benchmarks? • Is there something we need to work on? • Brainstorm activities • Spiraling the levels with one sample • Small group interactions at A1 – the introduction to figures on art cards

3. Common European Framework of Reference for Languages • A Basic User • A1 Breakthrough • A2 Waystage • B Independent User • B1 Threshold • B2 Vantage • C Proficient User • C1 Effective Operational Proficiency • C2 Mastery

4. Common European Framework of Reference for Languages Can understand and use familiar everyday expressions and very basic phrases aimed at the satisfaction of needs of a concrete type. Can introduce him/herself and others and can ask and answer questions about personal details such as where he/she lives, people he/she knows and things he/she has. Can interact in a simple way provided the other person talks slowly and clearly and is prepared to help.

5. Common European Framework of Reference for Languages Can understand sentences and frequently used expressions related to areas of most immediate relevance (e.g. very basic personal and family information, shopping, local geography, employment). Can communicate in simple and routine tasks requiring a simple and direct exchange of information on familiar and routine matters. Can describe in simple terms aspects of his/her background, immediate environment and matters in areas of immediate need.

6. Common European Framework of Reference for Languages Can understand the main points of clear standard input on familiar matters regularly encountered in work, school, leisure, etc. Can deal with most situations likely to arise whilst travelling in an area where the language is spoken. Can produce simple connected text on topics which are familiar or of personal interest. Can describe experiences and events, dreams, hopes & ambitions and briefly give reasons and explanations for opinions and plans.

7. Common European Framework of Reference for Languages Can understand the main ideas of complex text on both concrete and abstract topics, including technical discussions in his/her field of specialisation. Can interact with a degree of fluency and spontaneity that makes regular interaction with native speakers quite possible without strain for either party. Can produce clear, detailed text on a wide range of subjects and explain a viewpoint on a topical issue giving the advantages and disadvantages of various options.

8. Common European Framework of Reference for Languages Can understand a wide range of demanding, longer texts, and recognise implicit meaning. Can express him/herself fluently and spontaneously without much obvious searching for expressions. Can use language flexibly and effectively for social, academic and professional purposes. Can produce clear, well-structured, detailed text on complex subjects, showing controlled use of organisational patterns, connectors and cohesive devices.

9. Common European Framework of Reference for Languages Can understand with ease virtually everything heard or read. Can summarise information from different spoken and written sources, reconstructing arguments and accounts in a coherent presentation. Can express him/herself spontaneously, very fluently and precisely, differentiating finer shades of meaning even in more complex situations.

11. Albert Anker, Ziviltrauung

12. Erich Heckel, Laute spielendes Mädchen, 1913, Brücke-Museum Berlinhttp://www.artnet.de/magazin/news/muenter/muenter12-14-05_detail.asp?picnum=2 • Creating identity for depicted person: • name, • age, • kind of person, • place of residence, • interests, • occupation

13. August Macke, Seiltänzer, Öl auf Leinwand, 82 × 60 cm, Kunstmuseum Bonn, http://commons.wikimedia.org/wiki/Category:August_Macke

14. Summary of conference session • The Common European Framework of References for Languages offers standardized rubric language for all languages taught in EU countries for all ages. The European Language Portfolio is a self-evaluation tool for adult learners of language while the “My Language Portfolio” is a junior version for children. They can be found online at http://europass.cedefop.europa.eu/europass/home/hornav/Downloads/LangPassport/ELPTemplate/navigate.action and for the Junior version (“My Languages Portfolio”) at http://www.nacell.org.uk/resources/pub_cilt/portfolio.htm • In the conference session we worked on the CEFR descriptions from a handout where they were scrambled, familiarizing ourselves with the categories by reading them and putting them in correct order. While doing so, we thought about our own fit in the descriptions. Our second interaction in the session was to brainstorm ideas for art works by considering three or four randomly selected art works in small groups. In order to think about how to design interactions with art that fit the level of proficiency appropriate to our learners, we considered some possibilities for just one painting (on the slide below of the painting by Albert Anker). We then took some time for introductions of figures on art cards, where we generated identities for the subjects on randomly selected art cards, working here also in small groups of three or four. • These summarizing categories can be found in the Wikipedia article on the CEFR at http://en.wikipedia.org/wiki/Common_European_Framework_of_Reference_for_Languages • The Common European Framework of Reference for Languages descriptions for A1, A2, B1, B2, C1, and C2 can easily be found in the Wikipedia at http://en.wikipedia.org/wiki/Common_European_Framework_of_Reference_for_Languages.

15. Summary of conference session Cont. • This slide suggests that we brainstorm ideas for using art works in the language classroom at the lower levels of A1 or A2. When considering what activities, tasks or interactions we might try out with these paintings or others, we ought to think about the requirements of the level, and whether our ideas offer an appropriate fit. The paintings here are August Macke’s Hutladen (Hat store), Markt in Algier (Market in Algiers), Indianer auf Pferden (Indians on horseback), Hans Thoma’s Spielende Kinder (Playing Children), Franz Marc’s Mädchen mit Katze (Girl with Cat), Paula Modersohn-Becker’s Mädchen mit Kaninchen (Girl with Rabbit) • From Wikipedia Commons at http://commons.wikimedia.org/wiki/Category:August_Macke • http://commons.wikimedia.org/wiki/Image:Hans_Thoma_Spielende_Kinder.jpg • http://commons.wikimedia.org/wiki/Image:Franz_Marc-Girl_with_Cat_II(M%C3%A4dchen_mit_Katze_II)-(1912).jpg • http://commons.wikimedia.org/wiki/Image:Paula_Modersohn-Becker_M%C3%A4dchen_mit_Kaninchen.jpg • Using one art sample, we can spiral up the requirements for work at a particular level. A1 might have us counting numbers of people or objects in the depiction*, or perhaps offering a minimal introduction (name, age, city or country of residence) to the bride and groom at the center of the painting by Albert Anker, entitled “Civil Marriage.” A2 might ask learners to determine the family relationships and identify the individuals by generation; or perhaps we can take the introductions a step further and create identities for everyone and include not only name, age, and place of residence, but also include interests and occupations. B1 level could require us to introduce and explore marriage traditions the culture of the language being learned, or outline a typical schedule for the events before and after the depicted ceremony, and perhaps here is a good prompt for contrasting the historic and modern practices of marriage ceremonies, both religious and civil. B2 is a good level where research into the artist and his life leads us to delve into art history and its influences. C1 suggests perhaps that explore differences in civil rights and code in reference to family, while C2 could be the space for exploring the changes over time in women’s status in Switzerland, the country of origin for this painting. *This idea came from the brainstorm at the conference. • With many art cards depicting the human figure, it is possible to have learners create fictional identities in preparation for their own description of a favorite person. My students work in groups of three generating the description, which they write on the back of the laminated card (post-it notes pasted on the back work well too). I collect the cards and generate a corrected version to paste on the back, and we continue in this manner for three days, until there are sufficient cards for the class enrollment. For the next several days we practice the descriptions in “party talk” format, asking “Who is this?” and then introducing the person by reading the description on the back of the card. When two participants have both introduced their art subject, they exchange cards and move on to ask and answer questions with another person. A time limit can be set or the teacher may impose a minimum number of exchanges from day to day. Because the class members know that they are preparing for an oral test in which they are expected to introduce and describe a favorite person, they pay attention to descriptions that may include details they need to use themselves. • We can use the information given on the back of art postcards or found with the art work in internet sites to talk about the work of art: Identify the painter, name the painting, tell what medium was used to produce, and its size, and finally suggest what travel destination would allow us to view the painting in the original.