Developing Macro Skills in Acompetence Based Curriculum Handout PDF

Developing the macro skills in a competence based curriculum
1
Developing listening and speaking

skills in a competence based
curriculum
When we learn a language, there are four skills that we need for complete
communication. When we learn our native language, we usually learn to listen first, then
to speak, then to read, and finally to write. These are called the four "language skills":
also known as "macro skills'
Macro skills are most commonly referred to listening, speaking, reading and writing in
English language.
Listening: This is a communication technique that requires the listener to understand,

interpret and evaluate what he or she hears. Listening effectively improves personal
relationships through the reduction of conflict and strengthens cooperation through a
collective understanding while speaking is vocalization of human communication. Being
able to express an idea, concept or opinion through speech is essential in the
communicative process and languages are about communication. A good language
teachers plan lessons, and sequences of lessons, which include a mixture of all the macro-
skills, rather than focusing on developing only one macro-skill at a time.
Listening is the most important skill in communication. It is a mental operation involving

processing sound waves, interpreting their meaning, and storing them in memory. It is a
communication technique that requires the listeners to understand, interpret, and evaluate
what they hear. It paves the way for other skills to tower over the others because of its
significance in terms of speech, discussion and freedom of expression. They serve as an
approach to make everybody comprehend which is being said. It is closely related to
2
speaking and it enables the persons to soak in any information that is given to them;
consequently, the information can be passed on to another party later on after the
conversation. On the other hand, learners will develop prediction and anticipation skills
in listening. Without listening, communication will be crippled. It is vital and should be a
main part in communication.
Second language (L2) listening comprehension is a complex process, crucial in the
development of second language competence. Listeners use both bottom-up processes
(linguistic knowledge) and top-down processes (prior knowledge) to comprehend.
Knowing the context of a listening text and the purpose for listening greatly reduces the
burden of comprehension. This will help students learn how to listen and develop the
metacognitive knowledge and strategies crucial to success in listening comprehension.
Listening strategies are techniques or activities that contribute directly to the

comprehension and recall of listening input. Listening strategies can be classified by how
the listener processes the input.
Top-down strategies are listener based; the listener taps into background knowledge of
the topic, the situation or context, the type of text, and the language. This background
knowledge activates a set of expectations that help the listener to interpret what is heard
and anticipate what will come next. Top-down strategies include
listening for the main idea

predicting
drawing inferences
summarizing
Bottom-up strategies are text based; the listener relies on the language in the message,
that is, the combination of sounds, words, and grammar that creates meaning. Bottom-up
strategies include
listening for specific details
recognizing cognates
recognizing word-order patterns
Research has demonstrated that adults spend 40-50% of communication time listening
(Gilman & Moody 1984), but the importance of listening in language learning has only
been recognized relatively recently
(Oxford 1993). Since the role of
listening comprehension in language
learning was taken for granted, it
merited little research and
pedagogical attention. Although
listening played an important role in
audio-lingual methods, students only
listened to repeat and develop a better
pronunciation (for speaking).
3
understand the main idea of the text.
Beginning in the early 70's, for
Listening work by information:
specific Asher, Postovsky,
you want toWinitz and, later, Krashen,
brought attention to the role of listening as a tool forkey
find out specific details, for example words.
understanding and a key factor in
Listening for detailed understanding: you want
facilitating language learning. Listening
to understand has emerged
all the information as an important component in the
the text
process of second language
provides. acquisition (Feyten, 1991). This research base provides
support for the pre-eminence of listening comprehension in instructional methods,
especially in the early stages of language learning.
You should know that there are different types of listening:

Listening for gist: you listen in order to understand the main idea of the text.
Listening for specific information: you want to find out specific details, for example key
words.
Listening for detailed understanding: you want to understand all the information the text
provides.
SUGGESTIONS FOR IMPROVING YOUR LISTENING SKILLS
Before you listen
Think about the topic of the text you are going to listen to. What do you already know
about it? What could possibly be the content of the text? Which words come to mind that
you already know? Which words would you want to look up?
If you have to do a task on the listening text, check whether you have understood the task
correctly.
Think about what type of text you are going to listen to. What do you know about this
type of text?
Relax and make yourself ready to pay attention to the listening text.
While you are listening
It is not necessary to understand every single word. Try to ignore those words that you
think are less important anyway.
If there are words or issues that you don't understand, use your general knowledge as
well as the context to find out the meaning.
If you still don't understand something, use a dictionary to look up the words or ask
someone else for help.
Focus on key words and facts.
Take notes to support your memory.
Intonation and stress of the speakers can help you to understand what you hear.
Try to think ahead. What might happen next? What might the speakers say, which words
might they use?
After listening
Think about the text again. Have you understood the main points?
Remember the speculations you made before you listened. Did they come true?
Review your notes.
4
Check whether you have completed your task correctly.

Have you had any problems while listening? Do you have any problems now to complete
your task? Identify your problems and ask someone for help.
Listen again to difficult passages.
Thanks to https://www.teachingenglish.org.uk/article/active-listening-activities
Here are some activities you can introduce in class for active listening with
integration with other skills
Dual dictation
Ask students to get into pairs to write a dialogue. When student A is speaking, student B
should write down what they are saying and vice versa. When they have finished the
conversation, they should check what each other has written and put the two sides of the
conversation together. You could then ask students to perform their dialogues again to
the rest of the class, or to swap with other pairs.
This activity works best if you give students a theme or role-play, e.g.
A conversation between friends about holidays
An argument between siblings
An interview with a famous person
A scene from a film
Class memory quiz
Ask one student at a time to go to the front of the class. Ask the rest of the class to ask
them any questions they like (as long as they are not too personal!),
e.g.
What is your favourite colour/food/band?
What did you have for lunch?
Which country would you most like to visit?
Try to make a note of some of the answers. When all of the students (or half of the
students, if you have a large group) have been interviewed, explain that you are going to
hold a quiz about the class. Get the students into small teams and ask them to put their
hand up if they know the answer to a question, e.g.
Which student likes Oasis?
What is Marie's favourite food?
Which two students would like to be famous actors?
Award a point to the first team to answer correctly. This game can be a lot of fun, and
encourages students to listen to each other.
Listen for lies
Divide the class into two teams A and B. Ask one student at a time to come to the front
of the class and read aloud a passage which you have chosen, e.g. a story or newspaper
article. Then ask them to read it aloud again, but to make some changes. Each time a lie
5
(or change) is read out, the students must stand up. The first team to stand up gets a point.
This game requires students to listen carefully and encourages them to remember
important information and details.
Now let's see if you can come with your own.

[
What is Speaking?
Speaking is the delivery of language through the mouth. To speak, we create sounds
using many parts of our body, including the lungs, vocal tract, vocal chords, tongue, teeth
and lips.
Speaking is the second of the four language skills, which are:

Listening
Speaking
Reading
Writing
In our own language, speaking is usually the second language skill that we learn.
This vocalized form of language usually requires at least one listener. When two or more
people speak or talk to each other, the conversation is called a "dialogue". Speech can
flow naturally from one person to another in the form of dialogue. It can also be planned
and rehearsed, as in the delivery of a speech or presentation.
Speaking can be formal or informal:
Informal speaking is typically used with family and friends, or people you know well.
Formal speaking occurs in business or academic situations, or when meeting people for
the first time.
Speaking is probably the language skill that most language learners wish to perfect as
soon as possible. It used to be the only language skill that was difficult to practise online.
This is no longer the case. English learners can practise speaking online using voice or
video chat and services like Skype. They can also record and upload their voice for other
people to listen to.
What is meant by "teaching speaking" is to teach ESL learners to:

• Produce the English speech sounds and sound patterns
• Use word and sentence stress, intonation patterns and the rhythm of the second
language.
• Select appropriate words and sentences according to the proper social setting, audience,
situation and subject matter.
• Organize their thoughts in a meaningful and logical sequence.
Use language as a means of expressing values and judgments.
Use the language quickly and confidently with few unnatural pauses, which is called as
fluency. (Nunan, 2003)
6
Now many linguistics and ESL teachers agree on that students learn to speak in the
second language by "interacting". Communicative language teaching and collaborative
learning serve best for this aim. Communicative language teaching is based on real-life
situations that require communication. By using this method in ESL classes, students will
have the opportunity of communicating with each other in the target language. In brief,
ESL teachers should create a classroom environment where students have real-life
communication, authentic activities, and meaningful tasks that promote oral language.
This can occur when students collaborate in groups to achieve a goal or to complete a
task.
But like all things in life, there are some barriers that may hinder the progress of attaining
a good communication using English as a medium such as:
Communication Barrier #1
Lack of Enthusiasm
Do you really believe your product is better than the competition‘s? Do you look as
confident as you say you are? The benefits of your product will not be believable if you
don‘t communicate your passion, enthusiasm, and commitment through your facial
expressions.
How to Avoid This Barrier:
Show Some Enthusiasm

Begin paying attention to the type of facial expressions you use and when you use them.
You may not be aware of when you frown, roll your eyes, or scowl.
Make sure your facial expressions are appropriate based on your topic, listeners and
objective. When you‘re smiling while communicating a serious or negative message, you
create a discrepancy between your facial expression and your message. The same
7
discrepancy applies when you‘re communicating a positive message without facial

expressions.
Once you have increased your awareness of facial expressions, practice the skill of
incorporating them into your message, matching the appropriate expression to each
situation. You wouldn‘t want to have a stone-cold look on your face when you are
expressing your passion for your company‘s products.
Distracting Gestures
The majority of individuals I work with fidget with their fingers, rings, pen — the list
goes on. If they don‘t fidget, then they unconsciously talk with their hands. Their elbows
get locked at their sides and every gesture looks the same. Or they‘ve been told they talk
with their hands so they hold their hands and do nothing.
Throughout the day, notice how you and others use gestures.
Do you talk with your hands or gesture too often? If you‘re constantly using gestures,
you‘re not able to think on your feet and you‘re creating static.
Do your gestures have purpose?
Ask for constructive feedback from friends, family and co-workers: ―When I gesture do I
look like I‘m talking with my hands?‖ ―Do I use gestures too often or not enough?‖
Use Gestures for Emphasis

Confident speakers use gestures to add emphasis to their words. To gesture with purpose,
avoid locking your elbows at your sides or creating the same repetitious gestures. Instead,
expand your gestures from your sides and let your hands emphasize and describe your
message.
Add variety to your gestures by relaxing your arms back to your sides after you complete
a gesture.
―Static is created when what you say is inconsistent with how you say it.‖
When your gestures create a visual for your listeners, they‘ll remember more information
and will remember your message longer.
Gestures will grab your listener‘s attention.
Gestures add energy and inflection to your voice and channel your adrenaline and
nervous energy.
Lack of Focus
The more you add information that isn‘t necessary, the greater the risk your listeners will
misinterpret your point.
8
Stay Focused
When you begin to say too much and feel like a train about to derail, put the brakes on
and get yourself back on track … PAUSE!
Keep your objective in mind. Think in terms of what your listener needs to know about
what you want them to do, not what you want to tell them.
Put thought into your words.
Using PowerPoint as a Crutch

―The more you add information that isn‘t necessary, the greater the risk your listeners
will misinterpret your point.‖
PowerPoint isn‘t designed to serve as your notes. The purpose of visual aids is to enhance
and support your message through pictures and illustrations.
Design Visual Aids, not Wordy Slides

How you design your visual aids will determine your ability to stay connected with your
listener.
Create PowerPoint slides with more pictures and fewer words.
Ask yourself, ―Why am I using this PowerPoint slide?‖
Identify how your PowerPoint slide best supports your message based on the following
criteria:
Listener expectations and needs.
Listener experience and knowledge level.
Objectives.
Time frame.
Number of participants.
Save details for handouts. Your listeners will appreciate a conversational approach with
interaction accompanied by take-aways they may use as a resource.
Stay away from software overkill. If you‘re clicking the mouse every few seconds, your
visual aids are the message and you are the backup.
If you‘ve been using the same PowerPoint design for more than six months, it‘s time to
make a change!
Stop disconnecting with your listener by talking to your visual aids. Only speak when
you see eyes! Pause when you refer to your visual aids and stay connected with your
listener.
Verbal Static
9
Um… what perception… like… do you create… you know… when you hear… um… a
speaker using… uh… words that clutter… you know… their language? Knowledgeable,
credible and confident are labels which probably don‘t come to mind.
The number one challenge individuals need to overcome to increase their influence is the
ability to replace non-words with a pause. We use non-words to buy ourselves time to
think about what we want to say. These words are distracting and your listener misses
your message.
Eliminate Filler Words
Think on your feet.
Get to the point and avoid rambling.
Take a relaxing breath.
Hold your listener‘s attention.
Gain control over your message.
Hear, understand and respond.
Act on what you say.
[
Lack of Eye Connection
The only way to build a relationship is through trust. When you forget what to say, you
will look at the ceiling, floor, PowerPoint slides or anywhere away from your listener.
When you disconnect you‘ll say: ―uh‖ ―um‖ ―so‖ ―and‖, etc.
Keep Your Eyes On Your Audience
When speaking to more than two individuals, connect with one individual for a complete
sentence or thought. Take a moment to pause as you transition your eyes from one
individual to another.
When rehearsing, ask your listener to immediately give you feedback when you look
away from them while you‘re speaking.
http://sixminutes.dlugan.com/6-communication-barriers/
Ideas for Supporting Speaking and Listening Activities
Improving your English speaking skills will help you communicate more easily and
effectively. But how do you become a more confident English speaker?
Practise where you can, when you can. Any practice is good – whether you speak to
someone who is a native English speaker or not.
It's important to build your confidence. If possible, use simple English sentence structure
that you know is correct, so that you can concentrate on getting your message across.
10
Try to experiment with the English you know. Use words and phrases you know in new
situations. Native English speakers are more likely to correct you if you use the wrong
word than if you use the wrong grammar. Experimenting with vocabulary is a really good
way of getting feedback.
Try to respond to what people say to you. You can often get clues to what people think
by looking at their body language. Respond to them in a natural way.
Try NOT to translate into and from your own language. This takes too much time and
will make you more hesitant.
If you forget a word, do what native English speakers do all the time, and say things that
'fill' the conversation. This is better than keeping completely silent. Try using um, or er, if
you forget the word.
Don't speak too fast! It's important to use a natural rhythm when speaking English, but if
you speak too fast it will be difficult for people to understand you.
Try to relax when you speak – you'll find your mouth does most of the pronunciation
work for you. When you speak English at normal speed, you'll discover that many of the
pronunciation skills, such as linking between words, will happen automatically.
Remember, when speaking English…
Try to become less hesitant and more confident.
Don't be shy to speak – the more you do it, the more confident you'll become.
Remember to be polite – use "please" and "thank you" if you ask someone to do
something for you.
http://www.english-at-home.com/speaking/better-english-speaking-skills
11
Developing reading skill in a

competence based curriculum
‘An estimated 122 million youth globally are illiterate, of which young women represent 60.7% .. 67.4
million children are out of school … deficient or non-existent basic education is the root cause of
illiteracy’. (UNESCO)
Imagine what your life would be like if you didn‘t know how to read. Approximately
only 80% of the world‘s population is reported to be able to read (Grabe & Stoller, 2002).
Reading is a fundamental skill for learners, not just for learning but for life (Traves 1994)
with reading being defined as ―…the ability to draw meaning from the printed page and
interpret this information appropriately‖ (Grabe & Stoller, 2002, p. 9).
Why we need to develop reading skills
L1 literacy leads to L2 literacy development awareness. Reading itself builds on oral

language levels and key factors that influence (L2) reading skill development include the
ability to comprehend and use both listening and speaking skills because you need to:
 Hear a word before you can say it

 Say a word before you can read it
 Read a word before you can write it (Linse 2005)
What this tells us is that young learners need a firm foundation in auditory and oracy
skills before they can become proficient readers and writers of ANY language. Learning
to read and then to write means the young learner has to link what they have heard or
spoken to what they can see (read) and produce (write).
Beginning reading: learning letters

Especially if the children‘s own language has a different alphabet it is important that they
become familiar with the shapes of letters and can begin manipulating them. The
following holistic (they require using the body and space rather than pencil and paper)
activities help to give children a strong imprint of the shape of letters in their mind‘s eye.
Body letters
Ask children to make themselves into the shape of given letters ‗make yourself an ‗s‘
etc‘. Children contort their bodies into what they think the letter looks like.
12
You can model this easily by showing them an ‗x‘ by standing with your feet apart and
your arms in the air and wide apart. Or you can show a ‗T‘ by standing with your feet
together and your arms stretched out to the sides. Or ask children to make a letter and the
whole class has to try to recognize what the letter is.
Tracing letters
Ask students to shut their eyes and with your finger trace a letter on their hand or back.
They must tell you what this is. They can play the game in pairs. There may be giggles
from the ticklish in the class, but the activity requires them to ‗see‘ the letter in their
mind‘s eye and it‘s great fun, too.
Air writing
Before writing letters on paper, get all the students to stand up and you stand at the front
of the class with your back to them. Using your writing hand draw a big letter in the air
saying its sound at the same time. Get the students to copy you, moving their arms to
form the letter in the air.
Letter sculptures
Give out plasticine (soft modelling clay) to all the children (half-cooked spaghetti works
too, but is messier). Ask the children to make certain letters (or words). They have to
concentrate on the shape of the letter and its proportions.
The children can choose their own letter and make a big one out of plasticine or card,
then stick it on a large piece of card. Give out magazines and newspapers and let the
children look and find either words or pictures of things that begin with the same letter.
They cut these out and create a collage with their big letter. Decorate the classroom with
these posters.
Beginning reading: introducing letters

Before introducing letters, Consider how children learn their mother tongue .
Foundations - The sound system of English
Begin by teaching children to recognise, understand and produce the spoken word
through games, songs and stories. Allow them to hear plenty of English from you, so try
to maximise your English and minimise Mother Tongue in the classroom (you can also
use videos, tapes, songs etc) so they become accustomed to the sounds of English.
Encourage them to speak English by repeating you, joining in chants and songs and
responding to simple questions. This foundation is vital to make meaningful links to the
sound system of English. Learning sounds and letters without understanding any words is
a purely mechanical and potentially off-putting experience for them. Young children will
quickly learn English words if you introduce them with a picture that clearly shows the
meaning or you can point to the object in the classroom e.g. chair, door, window .
13
Introducing letters
It is possible to introduce letters after only a few hours of English classes as long as the
children have already been introduced to English vocabulary – they understand the
meaning of words and are able to recognise the word when it is spoken. Doing a little
regularly and incorporating reading and writing into every lesson is a good idea. It gives
the lesson variety and students are not overloaded.
Some suggestions for introducing letters
A TPR (Total Physical Response) action game. Call out action words like swim, jump
and hop while doing the actions and get the children to copy the actions moving around
the classroom as they are listening to the words. This type of activity ensures that
children are learning/practising the words meaningfully and by being physically involved
they are enjoying the game which makes the words more memorable. Getting children to
move around in the lesson helps them to use up the energy they have or energise and
focus them if they are sluggish or distracted.
Revise new language from previous lesson e.g. children have to point at appropriate
objects in the room as you call out the names. Children do pick up new words quickly,
but they also forget quickly, so it‘s a good idea to keep revising and recycling
vocabulary. When they are able to remember the words, they will feel a sense of success
and be motivated to learn more.
Introduce 7 letters phonically (explained below).
Practise the new letters along with others they have already learnt.
Introduce a new song or chant and practise. Or introduce new vocabulary and practise.
It is possible to have a lot of input in every lesson. Don‘t underestimate what children can
learn and give them plenty of opportunities to pick up new language.
Story: This is a great way to practise and/or introduce language meaningfully. See
previous webpage on using stories with juniors for more ideas.
A quiet game/task based on the story - drawing and colouring in. Allow for quiet
activities to allow children to process the language, have a rest, and for you to monitor
them and have one-to-one dialogues with them about what they are doing. For example if
they are drawing a picture which includes target vocabulary of animals, you can say
‗that‘s a lovely blue tiger or ‗what a funny dog‘ etc: allowing them to hear the target
language in a personalised context.
Phonic approach
A phonic approach is far more useful initially than learning the names of the letters.
‗Knowing‘ the alphabet, as in reciting the names of the letters in the correct order, is not
useful if the children aren‘t able to match the sound with the written letter.
Phonics lesson
14
1. Prepare 26 flash cards, each one with a letter of the alphabet in lower case (it is
also possible to buy ready-made letter flashcards, as well as cards that show
common letter combinations such as ‗ow‘, ‗ee‘, ‗ea‘ etc).
2. Show the letters one at a time (not all at once, introduce around 7 each time) and
say the sound the letter makes. For the letter ‗c‘ use the ‗k‘ sound as this will be
more useful initially.Let the children hear the sound and encourage them to repeat
it.
Practise:
3. Hold up a letter and ask ‗Is this a /b/?‘ or ‗What is this?'.

4. Pin the letters on the board and ask children to run up one at a time and ‗slap‘ the
letter you call out (phonically).
5. Ask the children if they know any words that begin with this sound. This is great
for using what they already know and making the strong connection between
words, letters and sounds.
Beginning reading: recognition games

Games are motivating and help make language memorable, so try to think of lots of fun
ways to practise the new letters and sounds that you are introducing to the children .
Run and point
Pin up the letters that you have introduced to the class so far on the walls around the
classroom at a height the children can reach. Nominate one student and say ‗Juan, run
and point to /s/‘. The child must look around and find the correct letter and run up to it
and touch it or point to it. (Model the activity so that the children are clear about what
they have to do).
You could then turn this into a race. Divide the class into two groups. They stand in two
lines at the front of the class or down the centre of the room (it‘s great if you can move
furniture to the sides of the room). The children at the front of each line are the runners.
You say the sound of the letter and the one to reach and touch it first is the winner. They
then go to the back of the line and the next two children are the runners for the next letter.
It is fine if other children in the team help the runner – it‘s not a test but a means of
helping children learn the sound-letter link.
What begins with /b/?
Ask the question with all the letters the children have been introduced to. They can tell
you any words they know that begin with that sound. This is great for them to make their
own connections between the letter and the sound. You may be surprised at how many
words they know – even ones you haven‘t introduced in class.
15
Hold up the letter
Get the children to make cards with the letters they know. Call out a sound and the
children have to hold up the corresponding letter. This game allows all the children to
join in and to focus on processing the sound-letter link without having to produce any
language.
Recognising the letters
Produce handouts like this:
n hnm
o aodg
Children have to recognise which is the same letter and simply circle it or maybe colour
over it. The letters are actually very similar in shape, so it‘s important that children can
differentiate between them.
Beginning reading: learning words

It is a short journey from letters to words. In order to introduce words, show pictures and
words together and sound out the phonics.
E.G. /c/ /a/ /t/ = cat
Move you finger under each letter as you sound it. Remember not all languages are
written in the same direction. Encourage the children to read with you.
Word building
Word tiles – get the children to make 26 letter tiles out of cardboard (old cereal boxes
will do) by simply cutting out small squares and writing each letter on them. a
Each child has their letters spread out in front of them. Call out a word they have learnt
e.g. cat and the first one to find the right tiles and put them in order must put their hand
up. This encourages quick eye movement over the letters, recognition and letter
combining.
Races – for fun you could challenge the children working in pairs or threes (to encourage
cooperation and peer teaching) to make as many words as possible in a specified time.
As each child has their own letters, they can play with them at home or if they finish an
activity early and see how many words they can make. Later they can move into building
short sentences.
16
Worksheets
You can produce easy worksheets like this:
What animal?
c_t
d_g
a_t
Children fill in the gaps. If you can add a picture of the word too: it will make it all the more
meaningful.
atc = gdo = npe =
Children unjumble the letters to make the word. You could also do this on the board with
children coming up and doing the activity one at a time.
Word searches
These are good for children to recognise words within a jumble of other words. It makes
them concentrate and ‗see‘ words on the page. Children have to circle or colour the ten
key words in the grid.
Animals
17
Children have to find the ten animal words in the box. You can either give them the ten
words at the bottom to help them look. Or attach the pictures of the animals to the
wordsearch.
BIRD, CAT, COW, DOG, ELEPHANT, FISH, LION, MOUSE, SNAKE, TIGER
Crosswords
Children look at the picture, have to remember the English word and then have to write
the word – spelling correctly – to fit it into the crossword. This worksheet is also a good
record of vocabulary for them to keep and refer to.
18
How to explore reading with young learners

Early literacy strategies
Phonemic awareness (grapho-phonics)
Young learners of English need explicit instruction on the link between the symbols
(letters) in English and the sounds they make. They need to be taught that there is a direct
link between the phonemes (sounds) and graphemes (letters) in order to be able to start
‗blending‘ or sounding out simple words, e.g. vowel consonant (VC), followed by
consonant vowel consonant (VC). The UK National Literacy strategy ‗Letters and
Sounds‘ is a good place to start for ideas on not only the order of letters and sounds to be
taught but also the methodology to be used. Once a young learner has mastered blending
sounds together, they can be taught how to ‗segment‘ the sounds in words they can say.
These skills of putting together and separating sounds will help them with both
‗decoding‘ and spelling.
The whole point of human beings inventing symbols is to pass on information to each
other. They have done this in many different ways, consider the Ancient Egyptians with
their hieroglyphics,
Chinese pictographs, Arabic text and Roman text to name a few. There are not just
differences in symbols but also in directionality. These all have to be taught explicitly
because they are man-made and not intuitive.
Semantics
Being able to ‗decode‘ or read aloud is not useful on it‘s own. The symbols carry
meaning and so young learners need to be taught how to ‗encode‘ the symbols and
visuals in order to find out the message being shared.
Syntactics
In the same way that every language has differences in symbols, so they have in the ‗nuts
and bolts‘ or arrangement of their symbols. The grammar or syntax of language is best
‗acquired‘ in the Krashen sense, rather than ‗learnt‘ explicitly. Acquisition will occur
through multiple exposures to language usage in different contexts. Dissecting language
is not very useful to a young learner, however, some simple metalanguage from the age
of 10 years old upwards can be helpful, e.g. identifying nouns, verbs, adjectives, adverbs,
articles, pronouns and word order. The reason being that there may be differences
between the L1 and English and being helped to ‗notice‘ these differences can help. A
helpful publication to find out differences between 22 languages and English is edited by
Swan and Smith (2001).
Developing literacy
19
You do not need access to a vast library or online literature to explore reading in your
classroom.
Techniques we have used, and ones learners have enjoyed are shared for you below. It is
important to remember that activating background knowledge when needed may be key
to a comprehensible reading activity as;
―Our background knowledge is like a lens through which we understand what we read‖
and it ―allows teachers to unlock vocabulary before reading‖ (Anderson, 1999, p. 11).
Cameron (2001) gives a very useful list of ideas for creating a ‗literate environment in
the classroom‘ as this may be the only place young learners see print in the foreign
language. This list includes:
 Labels – labelling children‘s trays, desks, coat hooks, as well as furniture and
objects around the classroom and school.
 Posters – colourful posters are especially eye-catching which could include a
rhyme that is being learnt, advertising something, e.g. reading, cleaning teeth
 Messages – for homework or ‗Don‘t forget to bring …‘
 Reading aloud – by teacher or older child
Some other activities that will help to make reading ‗pleasurable‘ (Arnold 2009) which is
crucial for success in literacy, include:
 Focusing on reading fluency may include timed repeated reading (Nation, 2009).
 Running dictation (in pairs, so all learners are involved in reading).
 Learners making their own story books (or comics) to share with each other
(Wright, 1997, p.114-130).
 Creating backstories for character in a puppet family and creating a class binder to
refer back to when reading peers stories about the family. This can be developed
over a semester with learners
 taking in turns in small groups to create dramas to share with the class in written
form, so peers read, and can be followed through with role plays.
 Motivation – ask your learners to bring in materials they enjoy reading – whether it
is football results, recipes or song lyrics, use these as a springboard for discussion
and reading.
 Make it purposeful – if learning food lexis, bring in packets / tins of food, read
where different kinds of food originate from, and classify them by country or by
noun basis (countable/ uncountable). (Ellis & Brewster, 1991, p.57).
 Extensive reading is where learners read a lot of easy material in the new language.
They choose their own material and read it independently from the teacher.
(Krashen, 1988). This develops confidence in their abilities and promotes an
enjoyment of reading for pleasure.

20
6 Strategies for Reading with Young Learners

Young learners love stories, and reading with young learners typically involves including
a wide range of activities along with the reading itself. We read the images, read the text
aloud, retell the story with our own words, and carry out a series of playful activities
based on the text. However, a beautiful picture book isn‘t enough, language teachers
need extra materials to support their reading programmes and make them successful.
Extra materials may include:
 illustraions,
 a picture dictionary,
 activities and games,
 extra arts and crafts projects,
 Big Books for shared reading,
 And audio recordings of stories
Follow these six strategies and we guarantee that you will have a fun and successful
young reading programme:
1 SHARED GROUP READING

Use Young Readers BIG BOOKS: they are specially devised for shared reading. Make
sure that your students have copies of the small editions too. This way they can reread the
text alone or with their family or friends.
Why do it?
 introduces reading as a fun, group activity

 models fluency, intonation and
 improves listening comprehension
 connects listening, reading and visual literacy skills
 presents and practises vocabulary in context
 breaks down barriers for children struggling to read
How to do it?
 Choose a reader.
 Activate background knowledge and vocabulary.
 Make predictions.
 Read the text to your group.
 Reread the text, inviting your students to join in the reading if they feel like it.
2 READ ALOUD AND BUILD A DIALOGUE
21
 Whether you are reading with one student or a group, take this simple and easy
advice: slow down. Give enough time to your students to choose a book (offer 2 or
3 titles you have selected), give them enough time to study the book before you
start reading, and give them enough time to observe the images.
Why do it?
 Around the age of 5 or 6 young children are already familiar with picture books,
and they have developed strategies to understand stories that are read to them.
Storytelling gains more importance than ever before.
 When you are reading aloud to children, your can give your full attention to them.
 It revises vocabulary and introduces new words, phrases your students might not
even know in their first language.
 You can introduce simple reading techniques to very young children: book layout,
page layout, speech bubbles, and they can identify letters and words.
 When you are reading aloud, children learn to interpret images.
How to do it?
 During the second or third reading of the story, let your students finish sentences.
 Look back: from time to time, stop to ask questions about the story. ‗What
happened to the kite before?‘, or ‗Do you remember this girl?‘.
 Anticipation: children love anticipating the plot. It makes them feel comfortable
and reassures them that their knowledge of the world is correct.
 Prediction: Ask them what they think will happen to the characters.
 Tap into their experiences: ask them if they have seen or heard about the things
you are reading about.
3 MOVE AND ACT

 Reading is often a solitary and stationary act. When you decide to use stories with
young learners, remember that they might not feel comfortable sitting in one spot
for 30 minutes.
Why do it?
 Young learners enjoy learning through movement: they love pointing at and
touching things, acting and dancing.
 Reading in the classroom should not become a monotonous action that makes your
students sleepy. We have bedtime stories for that.
How to do it?
 Point out objects and people while you are reading and ask your students to do the
same.
22
 When there‘s action, imitate the characters in the book.

 Use some scenes or the whole reader for role plays.
[[ 4 HAVE FUN WITH FLASHCARDS

Why do it?
Flashcards are every language learner‘s indispensable vocabulary assistants. Most of the
young learners in your groups can‘t read or write yet. Use the picture or use the
illustrations, but most importantly, use the flashcards
How to do it?
 Use flashcards for fun games:
 Snap
 Memory
 Bingo
 Guessing game/Charades
5 DO CREATIVE PROJECTS AND PLAY GAMES

 If you do creative projects and games after reading a story, you can make sure that
your students have immediate, contextualised vocabulary practise. They can also
play a game and make the book more memorable.
Why do it?
 Creative projects activate manual and visual skills, and let your students rely on
their own creativity.
6 CHANT
We have talked about the power of images and acting. Songs, chants and raps are equally
valuable for your reading class.
Why do it?
 Children love rhymes, and they become familiar with them at a very early age (2-
3). They repeat and imitate your words without really questioning what you‘re
saying. This quality helps them develop unharmed pronunciation at an early age.
 If you top word repetition activities with chants, you can practise intonation and
sentence structure with your young learners in a natural way.

23
How to do it?
 Listen to the chants

 Listen several times, and start chanting along.
 Stop the record and chant slowly.
 Start the record again, and chant together.
Conclusion
Reading is a rewarding process and can be enjoyed by learners and the teacher alike.
Our last note is simply this, approach reading with the intention of having fun in the
learning process and your intention will be mirrored by your learners. Happy reading!
Teaching Reading Comprehension in CBC :

Comprehension is the only reason for reading. Without comprehension, reading is a
frustrating, pointless exercise in word calling. It is no exaggeration to say that how well
students develop the ability to comprehend what they read has a profound effect on their
entire lives. A major goal of teaching reading comprehension, therefore, is to help
students develop the knowledge, skills, and experiences they must have if they are to
become competent and enthusiastic readers.
For many years, teaching reading comprehension was based on a concept of reading as
the application of a set of isolated skills such as identifying words, finding main ideas,
identifying cause and effect relationships, comparing and contrasting, and sequencing.
Teaching reading comprehension was viewed as a mastery of these skills.
Comprehension instruction followed what the study called mentioning, practicing, and
assessing procedure where teachers mentioned a specific skill that students were to apply,
had students practice the skill by completing workbook pages, then assessed them to find
out if they could use the skill correctly. Instruction did little to help students learn how or
when to use the skills, nor was ever established that this particular set of skills enabled
comprehension.
24
Research indicates that we build comprehension through the teaching of comprehension

strategies and environments that support an understanding of text. It is important for
educators and parents to teach children active strategies and skills to help them become
active, purposeful readers. Teaching reading comprehension is an active process of
constructing meaning, not skill application. The act of constructing meaning is:
Interactive – It involves not just the reader, but the text and the context in which
reading takes place.
Strategic – Readers have purposes for their reading and use a variety of strategies as
they construct meaning.
Adaptable – Readers change the strategies they use as they read different kinds of text
or as they read for different purposes.
What Do Good Readers Do?
Before reading, good readers tend to set goals for their reading.
with meanings of words.
Good readers use their background knowledge (schema) to create mental

images, ask questions, and make inferences.
How Do Poor Readers Differ From Good Readers?
Poor readers do not have sufficient awareness to develop, select, and

apply strategies that can enhance their comprehension.
slowly, and lack fluency.

eaders often lack sufficient background knowledge and have
trouble making connections with text.
Some poor readers are unaware of text organization.
.
METACOGNITION & SCHEMA (BACKGROUND KNOWLEDGE)
Although "metacognition" and "schema" aren't comprehension strategies, they are very
important for teaching reading comprehension strategies. Simply put, metacognition
25
means to think about your thinking : Text + Thinking = Real Reading . When you read
text and think at the same time you are ―real reading‖…or being metacognitive! When
you read, sometimes you activate your schema or you build upon it.
READING COMPREHENSION STRATEGIES
1. Make connections
Connecting what your pupil already knows while he reads sharpens his focus and
deepens understanding. Show the pupil how to make connections by sharing your own
connections as you read aloud. Maybe the book mentions places you‘ve been on
vacation. Talk about your memories of those places. Invite your pupil to have a turn.
Remind your pupil that good readers make all kinds of connections as they read.
Simply encourage your pupil to make personal connections to the content of the book
he/she is reading. You could even jot the connections on sticky notes in colorful magic
markers and stick them in the book, or make a cute chart of the connections.
Children make personal connections with the text by using their schema. There are three
main types of connections we can make during reading:
Text-to-Self: Refers to connections made between the text and the reader's personal
experience.
-to-Text: Refers to connections made between a text being read to a text that was
previously
read.
-to-World: Refers to connections made between a text being read and something
that occurs in
the world.
2. Infer
Making inferences is similar to the text-to-world connection strategy. In order for

children to adequately understand, they must be able to make inferences, yet this is a
difficult concept even for some adults to grasp! Gradually work with children on
drawing conclusions based on what information they know. Likewise, show them how to
make educated guesses, and to look for hints to back up their reasoning. You could make
lists and pictures together to help this strategy along. As always, model inferring for
your pupil in an explicit way, so that he/she can see how you derive conclusions.
We ―infer‖ by combining what we already know with clues from a story. For example,
when we read, ―Her eyes were red and her nose was runny,‖ we can infer that she has a
cold or allergies. You can help your child with this reading skill by predicting what might
happen in the story as you read aloud. Then invite your pupil to do the same.
26
Authors do not always provide complete descriptions of, or explicit information about a
topic, setting, character, or event. However, they often provide clues that readers can use
to ―read between the lines‖—by making inferences that combine information in the text
with their schema.
3. Predictions
An uncomplicated strategy to foster comprehension is to simply ask your pupil to make

frequent predictions. Most parents and teachers make the mistake of only asking children
to make predictions at the beginning of a book. Instead, ask pupils to make predictions at
the onset of a book, as well as at strategic points throughout the book. This stimulates
their thinking in a number of ways. At the end of the book, discuss with pupils whether
or not they liked the ending. Would they have ended it differently? If so, how?
4. Visualize
This strategy involves the ability of readers to make mental images of a text as a way to
understand processes or events they encounter during reading. This ability can be an
indication that a reader understands the text. Some research suggests that readers who
visualize as they read are better able to recall what they have read than those who do not
visualize.
Creating visual images brings the text alive. These ―mind movies‖ make the story more
memorable. You can help your pupil do this by reading aloud and describing the pictures
you‘re seeing in your own imagination. Use all five senses and emotions. Invite your
pupil to share his ―mind movies.‖ Notice how they‘re different from yours. You might
even ask your pupil to draw what‘s in his imagination.
One of the best parts of reading is to picture the story or the content in one‘s head. Ask
pupils to describe how they picture the characters and the setting in the story. If it‘s non-
fiction, ask them to draw their own pictures of the content. Another fun activity is to
compare and contrast visualizations between book and movie versions of various stories.
5. Questions
This strategy involves readers asking themselves questions throughout the reading of
text. The ability of readers to ask themselves relevant questions as they read is especially
valuable in helping them to integrate information, identify main ideas, and summarize
information. Asking the right questions allows good readers to focus on the most
important information in a text.
Asking children questions is the simplest and most old-fashioned way to ensure they
have understood material. Don‘t just ask questions at the end of a given passage. I
27
would suggest stopping at strategic points to see how they are doing throughout a
passage. Furthermore, the quality of the questions themselves can also determine the
quality of understanding. Most people only ask explicit, concrete questions that only
pertain to memory. For example, ―what color shirt was he wearing?‖ Instead, I
encourage people to ask implicit questions, which are open-ended, and to which there is
not necessarily a right or wrong answer, but by which you can still determine how well
the child understood. For example, rather than asking what color shirt the character
wore, in its place ask ―Why was it important that the character wore a blue shirt?‖ This
causes the child to think in a deeper manner, without having to memorize the color of the
shirt, yet you still yield rich insights pertaining to how well the child is comprehending.
Asking questions will make your pupil want to look for clues in the text. Pose questions
that will spark your pupil's curiosity as he reads. Frequently ask him, ―What are you
wondering?‖ Jot down those ―wonderings‖ and then see how they turn out. Remind your
pupil that good readers challenge what they‘re reading by asking questions
6. Determine importance
Determining what‘s important is central to reading. Determining importance has to do

with knowing why you‘re reading and then making decisions about what information or
ideas are most critical to understanding the overall meaning of the piece.
Practice determining importance with your pupils. Explicitly model how you determine
what is important. Show your pupils how you might look in topic sentences, or at bullet
points, titles, or headings to make more sense of a passage. Practice highlighting a
passage together. Once pupils know how to extract important information, they can
study better, focus better, and provide adequate retellings and/or summaries.
7. Synthesize
Synthesizing is the process of ordering, recalling, retelling, and recreating into a coherent
whole the information with which our minds are bombarded every day. Synthesizing is
closely linked to evaluating. Basically, as we identify what‘s important, we interweave
our thoughts to form a comprehensive perspective to make the whole greater than just the
sum of the parts.
Once pupils can determine importance, they can begin to synthesize. The easiest way I
can think of to explain synthesis to my students is to use a weaving metaphor. When we
synthesize, we have to take information from different sources, and weave it all together
for ourselves. This is no easy task! Imagine a weaver who has to select the best spools
of thread, based on her knowledge of thread. Then, she must weave the threads together
into one coherent, beautiful piece. That is precisely what successful readers do when
they comprehend. They weave the information, or synthesize it. I would suggest putting
important facts from a book onto long strips of paper, which could represent threads.
28
Then, think through how you would weave those important facts together, and you could
even physically manipulate the papers until you have your own quilt. This activity helps
a lot when pupils have to write research papers, or other written responses to text.
8. Fix-Up Strategies
Last but not least, simply equip your pupil to have fix-up strategies at his/her fingertips
upon which he/she can rely when information breaks down. When you are reading,
won‘t you stop and re-read something when you know it‘s no longer making sense?
Well, lots of children won‘t do that. They won‘t stop! They just keep going! Together
with your pupils, brainstorm and make a list of fix-up strategies. The list could be as
simple as ―stop, go back, re-read, use a highlighter, predict, ask questions, etc.‖ It
doesn‘t have to be anything fancy. The two keys are that your pupil first recognizes
when his/her comprehension breaks down, and second, knows a few things he/she can do
to help mend that comprehension.
Readers who monitor their own reading use strategies to help them when they don‘t
understand something. Teach your pupils how to ―click and clunk.‖ Read together and
ask them to hold up one finger when the reading is making sense (click) and two fingers
when meaning breaks down (clunk). To repair the ―clunks,‖ use these ―fix-up‖ strategies:
 Re-read.
 Read on—now does it make sense?
 Read out loud.
 Read more slowly.
 Look at illustrations.
 Identify confusing words.
29
Creative Thinking
Creativity is such a natural and motivating skill to develop in our young learners.
Creative activities are fun and engaging for our students. They take learning far beyond
the simple tasks of understanding and memorizing. In fact, it is the highest order thinking
skill, as Bloom‘s Revised Taxonomy .
Creativity is an essential skill (along with critical thinking, collaboration, and

communication) that students need in order to be successful in the 21st Century. Creative
students are better at making changes, solving new problems, expressing themselves
through the arts, and more.
How important is creativity?

Creativity is a natural ability that is found in every young learner. Unfortunately,
traditional classrooms don‘t always value creativity, and sometimes even hold it back.
Our role as teachers is to nurture creativity at every opportunity.
Consider the following:
 Creativity develops when students are able to analyze the information they‘ve
learned, make new connections with that information, come up with new ideas,
and evaluate their choices.
 To nurture creativity, students need the freedom to offer ideas and express
themselves without judgment. In a creative classroom, all contributions from
students are welcomed.
 Creativity requires the courage to make mistakes.
 Creativity and innovation go hand-in-hand.
What are the qualities of a creative classroom?

1. Teachers and students ask open-ended questions that encourage curiosity and
creativity.
2. Students brainstorm as many ideas as possible without fear of being judged or
being wrong. Students then go on to choose the best ideas and improve upon them.
3. Students demonstrate creativity not only individually, but with partners and in
small groups. Ideas are generated and assessed collaboratively.
4. Students lead the learning and work together to complete projects. These projects
help students take the information they have learned and present it in new and
creative ways.
How can you nuture creativity in your classroom?
30
Let‘s look at some specific ways to nurture creativity in your classroom, starting with one
of the building blocks of language learning:
Phonics
Learning about letter shapes and names can be creative! When your young learners are
introduced to letters, try this activity to build their creativity. Write the letters one by one
on the board and ask the following questions:
Can you make the letter _(b)_ with your fingers? With your hands? With your whole
body? With a partner?
When you first do this task, you might model how students could do this. Think out loud.
Let’s see. Letter b is round and straight. How about like this? Or like this? Then your
students are ready to try their own ideas.
Words
Vocabulary words can be taught in many creative ways. For example, verbs such as walk,
tiptoe, and skate can be learned more deeply by inviting students to move in creative
ways. Questions might include:
 Show me what it’s like to walk in deep snow. Show me how you might walk on hot sand.
 Imagine that you’re tiptoeing past a sleeping polar bear.
 We’re on a frozen lake in Antarctica. Let’s skate with the penguins!
As you can see, creativity and imagination are closely related.
Other words such as nouns and adjectives can be presented creatively through facial
expressions and body language, through movement, and even through dramatic skits.
Grammar
Grammar is often considered to be a logical and unimaginative part of English. However,

grammar can be very creative as it is expressed in songs, poetry, and storytelling. Look
for opportunities to build creative skills along with grammar skills.
A creative classroom is a joyful and motivating place where children feel empowered to
learn, where all ideas are welcomed, and where learning is deep and meaningful.
Children who are allowed to be creative are better learners, and they are more aware of
their own learning styles. Creativity is a lifelong skill that our students will take with
them into their adult lives to solve problems and help build a better world.
Creativity in Teaching:
31
We often remark on the marvelous creativity of young children's drawings, dramatic

play, and invented language. Children show imaginative use of color, themes, and flights
of fancy in their language. As teachers, we play an important role in supporting children's
ability in art, dramatic expression, and creative responses to problems.
Often, our primary goals are directed at keeping children healthy and safe, teaching
cognitive skills such as shape and color recognition, encouraging prosocial behavior, and
introducing basic literacy and numeration skills. With all the time that needs to be
devoted to these areas, there is less opportunity to think about the importance of
nurturing children's creative abilities. And yet, creative power increases a young child's
desire to learn and supports intellectual development.
Ask five different teachers to define "creativity" and you'll probably get five different
answers. One definition of creativity focuses on the process of "divergent thinking,"
which involves:
 the breaking up of old ideas

 making new connections
 enlarging the limits of knowledge
 the onset of wonderful ideas
When we encourage divergent thinking, we help to maintain children's motivation and

passion for in-depth learning. Encouraging children to keep on generating new ideas
fosters their creative-thinking abilities.
When children learn how to become comfortable with ambiguities, they are developing
complex thinking skills. For example, Joey, an older toddler; was glad to be invited to his
friend's birthday party, but he also felt grumpy because he did not get the toy train that
his friend received as a birthday gift. Children need help to understand that it is not only
possible, but acceptable, to hold contradictory or opposite ideas and feelings in their
minds at the same time. Give children experiences in playing with ideas that may be
ambiguous or uncertain.
You can help children understand that:
 Some feelings and wishes are the same as those of other people, and some are
different.
 A friend may want to play the same game as you some of the time but not all of the
time.
 You can do some things now, and some things later.
 One idea could be a good idea or not a good idea. (Singing songs is fun, but not at
naptime when others are resting.)
 There are consequences, and alternatives, to actions. This kind of thinking
sharpens reasoning skills and sparks a child's own creative solutions to conflicts .
32
Creative Teaching
To enhance children's creativity, keep the following in mind:
 One important way a child learns of his self-worth is through his interactions with
you.
 Be generous in positive descriptions of children's work and ideas.
 Remain focused on the uniqueness of each child and the challenge to nurture her
trust and creativity.
 Hold group meetings where children can freely express ideas, particularly in the
area of problem solving.
Questions Without Answers
Socratic or open-ended questions are a great way to get children's creative juices flowing.
These questions help a child distance himself from the here and now. Choices,
comparisons, entertaining new ideas, and formulating personal responses to these
questions are all-important ingredients in creative thinking.
Here are some open-ended questions to ask children to inspire their creativity:
 What could happen if it always rained on Saturdays?

 What if cars never wore out?
 If you saw a mouse in your backyard chewing your mother's favorite flowers, what
would you do?
 Why don't we wake up with our hair neat and combed?
 What would happen if a cow, a bee, and a clover got together?
 What could happen if cats could bark?
 What could happen if all the shoes in the world were the same size?
Remember that some questions may be too difficult for a child who has had little related
experience in the real world (some city children have never seen a cow or clover). Be
sure to tailor your questions to the current experiential knowledge of the children. When
possible, take children on a field trip, show them a video, or invite "experts" in different
areas to come and talk to the class in order to expand children's background of
experience.
It's interesting to explore ways of jump-starting children's creativity in different

curriculum areas. Whether children are involved in art, dramatic-play, or music and
movement activities, careful thought and planning can help them delve further into their
creative-thinking abilities.
33
Dipping Deeper Through Art
Easel and finger painting while listening to classical music; drawing; clay work; making
prints; slithering cornstarch goop between fingers-these are just a few of the art activities
that promote creativity and are already staples of many early childhood classrooms.
Sensitive observation will reveal creative discoveries. For example, a teacher may hand a
large paintbrush and a cup of blue paint to each of a small group of preschoolers. She
may notice as one dabs blue on her paper. In dreamy pleasure, the child watches the
patch of blue on her paper. She then dips her brush and watches wide-eyed as the blue of
her initial swath deepens in color, and great drips of blue paint slowly creep down the
easel paper.-She marvels at creating a deeper tint of blue.
In her observation, the teacher was able to appreciate the child's discovery that layering
more and more color changes the intensity of the color and the amount of the drip. Your
sensitivity to the power of a child's discovery is what unlocks the child's passionate
commitment and delight that are bedrock requirements for creativity.
Magical Movement
Some little folks need to be in intense active movement a lot of the time. For them, it
might be wise to encourage dance and movement as often as possible. Divide children
into two groups. Have one group "make music" by clapping their hands, playing rhythm
instruments, or tapping their feet on the floor. Ask the second group to listen carefully to
the rhythms provided by their peers and dance to the music in their own inventive ways.
Children learn to represent things by using their bodies in space. Toddlers love to try to
hop like a bunny. Older children might enjoy moving like a turtle, a dragonfly, or an
elephant. Ask the children whether they can use their bodies to represent emotions, such
as joy, anger, or surprise.
Creative thinking is implicit in many cooperative games, such as "Big Snake." In this
game, children stretch out on their stomachs and hold the ankles of the person in front of
them to make a two-person snake. The "snake" slithers over on its belly to connect up to
make a four-- person snake and so on. The children have to figure out how the snake
could slither up on a mountain or figure out a way to flip over the whole snake on its
back without losing its parts.
"Just-Imagine" Games
"Imagine this" games permit children to take off on flights of fancy that require them to
retrieve information from memory, compare and contrast ideas, and make connections
between disparate bits of information.
34
At rest time, you might let children conjure up different imaginary scenarios, such as
being a fly busily walking across the ceiling. What are they looking for? How do the
children on their cots look to the fly from its upside-down vantage point on the ceiling?
You can also ask children to pretend: "You can be any animal you wish. Which animal
would you choose? What would you do all day long as that animal?"
Some creativity games, such as the "One Goes Back" game, help children learn more
about themselves, including their preferences and reactions. In this game, you might ask:
"Suppose you were given these three objects (teacher names objects): Which one of the
three would you give up if you had to give one back? Why? What could you do with the
other two things? Could you use them together? How?"
The "Uses" game draws on children's ability to conjure up lots of unusual and
unconventional uses for objects, such as a tin can, paper clip, or cardboard tube from a
paper towel roll. When a teacher gave some men's ties to a group of 6-- year-olds, they
pretended to use them as seatbelts while taking a plane trip. They also pretended the ties
were slithery snakes crawling along the floor. Give children the chance to play out their
imaginative scripts with such props and then enjoy your peek into the window of their
creative conjuring!
Indoor Picnic
Plan with children to create imaginative indoor scenarios to lift everyone's mood during
dark winter days. For instance, try creating a summer picnic in the classroom. Spread a
large sheet on the floor Put seashells and maybe a few handfuls of sand in shallow plastic
tubs of water Work with children to prepare a variety of sandwiches and slices of fresh
fruit. Ask parents to send in some summer clothing so that preschoolers can change into
swimsuits and carry towels. Have a small plastic swimming pool on the floor After
children "go for a swim," they can make sand pies or sort seashells on the edge of the
"sand" sheet.
Arranging for Creativity
How you set up your classroom paves the way for creative adventures. Provide enough
space for a safe block corner and enough cars and blocks for creating highways and
traffic jams. Have easels out and smocks with plastic flexible neck-- bands ready for
children to put on when inspiration strikes. Try to have fewer time constraints for
activities so that children's creative juices can flow unfettered by a classroom clock.
Although story-reading times and group times are wonderful ways to increase social
cohesiveness, be aware of the implications of requiring all children to participate together
for other planned activities. Children may be discovering on their own something that is
not part of your specific plan for them. For example, if all the children are playing a
35
game outdoors and one child wants to create a sandcastle, a flexible teacher will not be
threatened by this personal choice. Perceptive teachers handle such individual needs in
ways that nurture a child's growth rather than squash budding initiatives.
Dramatic-Play Patterns
An indispensable classroom ingredient is the dramatic-play area. Teachers often ask

themselves, "Can rigid dramatic-play scenarios be considered creative in any way?"
As they chase peers, some children play "monster" as other children screech and run
away. The repetitive "monster" play requires no surprise scripts. Yet, the teacher who
wants to promote creativity can help connect the stereotyped behavior of a given child
with the larger world of imaginative play. We, as teachers, are constant observers and
learn about each child's unique style, fears, strengths, and use of fantasy. Notice
children's repetitive themes and how these serve to buffer them against anxiety. Question
children to get a better understanding of their dramatic-play themes and wishes.
The relationships between teachers and children, how classroom time and space is
organized, and materials available are important factors in the development of creativity.
Classrooms where children are supported in their eagerness to explore relationships and
materials without fear or disapproval from teachers or peers, where teachers are prepared
to unearth resources to satisfy children's creative thirst to know, are classrooms where
creativity is likely to blossom and grow.
36
Developing writing skills

in a competence-based curriculum
Introduction
Like most current-day curricula in the world, The KNC is based on the competences
children and learners are expected to acquire after completing of education. In a
competence-based curriculum , the aims of education are achieved by gradually
developing a coherent system of key ,general and specific competences .A curriculum
that explains and plans the learning process in terms of developing learners' competences
is called " Competence-based Curriculum" .
Competences are defined as Integrated systems of knowledge, skills , attitudes , values

, beliefs . Theses competences are developed through :
- Formal education
- Informal education
The importance of competences :
They allow us to become :
- responsible
- autonomous
- able to solve a diversity of problems
- perform satisfactorily in everyday life-settings at the quality level expressed by the

standards
Targets of CBC :
The Competence-Based Curriculum requests from teachers to address individual learning

style, to use their freedom of adding or adapting the curriculum to local needs or specific
37
realities . The teacher may choose the teaching methods and techniques and may adapt
the pedagogical practices depending on learner's cognitive and effective backgrounds and
learning styles .
The emphasis in the CBC is on :
1- The learner : as an autonomous thinker and explorer who expresses his/her own
points of view, builds arguments and asks questions for understanding, exchanges ideas,
and co-operates with others in problem solving rather than a passive recipient of
information
2- The teacher : as a facilitator of learning, a coach as well as a partner that helps the
learner to understand and explain rather than a " knowledge authority "
3- Classroom learning : the learning which is based on collaboration and aiming

developing competences instead of being based on competition in order to establish
hierarchies among learners , and aiming at developing factual knowledge focused only on
validated examples
4- The content : The aim of the curriculum is to produce a major shift from a theoretical
teaching of the subject to a variety of contexts that generate learning with understanding
5- Teacher's role : from an information provider to an organizer of a wide variety of

learning activities for all children
6- Assessment : From subjectivism and rigidity of marks meant to classify learners, to

self-assessment and progress assessment
Assessing & Developing macro skills in a CBC
To achieve this aim , we need to understand the uniqueness of writing as a skill with its
own features and conventions . we also fully understand the difficulty of learning to write
"well" in any language , even in our own native language . Every educated child in
developed countries learns the rudiments of writing in his/her native language , but very
few learn to express themselves clearly with logical, well-developed organization that
accomplishes an intended purpose.
The development and assessment of writing are not simple tasks . As you consider
assessing students' writing ability , as usual you need to be clear about your criterion in
lights of the curriculum standards just to have a clear vision about what to be developed
in specified time .What is it you you want to promote :
38
Handwriting ability ?
Correct spelling ?
Writing sentences that are grammatically correct ?
paragraph construction ?
logical development of main idea ?
All of these and others are possible sub-skills and can be developed through a variety of
tasks
- Before looking at specific tasks , we must scrutinize genres of written languages ( so

that context and purpose are clear ) , types of writing ( so that stages of the development
of writing ability are accounted for ) , and micro-and macro skills of writing ( so that
objectives can be pinpointed precisely ) .
GENRES OF WRITTEN LANGUAGE :
The most common genres of the language that students might produce , within and
beyond the requirements of a CBC . Even though this list is slightly shorter , we should
be aware of the multiplicity of options of written genres that learners nee to acquire .They
are as follows :
1. Academic writing
Papers and general subject reports
Essays, compositions
Academically focused journals
Short-answer test responses
Technical reports ( e.g, lab reports )
Theses, dissertations
2. Job-related writing
Messages ( e.g., phone messages )
Letters/emails
39
Memos (e.g., interoffice )
Reports (e.g., job evaluations, project reports )
Schedules, labels, signs
Advertisements, announcements
Manuals
3. Personal writing
Letters, emails, greeting cards, invitations , messages, notes
Calendar entries, shopping lists, reminders
Financial documents (e.g., checks, tax forms, loan applications )
Forms, questionnaires, medical reports, immigration documents, diaries, personal

journals
Fiction (e.g. short stories, poetry )
Types of writing performance :
Four categories of written performance that capture the range of written production are
considered here . Each category resembles the categories defined for the other three
skills, but these categories, as always, reflect the uniqueness of the skill area.
1. IMITATIVE :
To produce written language, the learner must attain skills in the fundamental, basic tasks
of writing letters, words, punctuation, and very brief sentences. This category includes
the ability to spell correctly and to perceive phoneme-grapheme correspondences in the
English spelling system . It is a level at which learners are trying to master the mechanics
of writing .At this stage, form is the primary if not exclusive focus, while context and
meaning are of secondary concern.
2. INTENSIVE ( Controlled ):
Beyond the fundamentals of imitative writing are skills in producing appropriate

vocabulary within a context ,collocations and idioms and correct grammatical features up
to the length of a sentence. Meaning and context are of some importance in determining
correctness and appropriateness, but most assessment tasks are more concerned with a
focus on form, and are rather strictly controlled by the test design .
40
3. RESPONIVE .
Here, assessment tasks require learners to perform at a limited discourse level,

connecting sentences into a paragraph and creating a logically connected sentence of two
or three paragraphs. Tasks respond to pedagogical directives, lists of criteria, outlines and
other guidelines. Genres of writing include brief narratives and descriptions, short
reports, lab reports, summaries , brief responses to reading, and interpretations of charts
or graphs. Under specified conditions, the writer begins to exercise some freedom of
choice among alternative forms of expression of ideas . The writer has mastered the
fundamentals of sentence –level grammar and is more focused on the discourse
conventions that will achieve the objectives in a written text
4. Extensive :
Writing implies successful management of all the processes and strategies of writing for
all purposes, up to the length of an essay . Learners focus on achieving a purpose,
organizing and developing ideas logically, using details to support or illustrate ideas,
demonstrating syntactic and lexical variety, and in many cases, engaging in the process
of multiple drafts to achieve a final product.
MICRO AND MACROSKILLS OF WRITING
A- Micro skills
1. Produce graphemes and orthographic patterns of English .
2. Produce writing at an efficient rate of speed to suit the purpose .
3. Produce an acceptable grammatical systems (e.g.,tense , agreement , pluralization,

patterns, and rules.
4. Use an acceptable core of words and use appropriate word order patterns .
5.Express a particular meaning in different grammatical forms.
6. Use cohesive devices in written discourse .
B- Macro Shills
7. Use the rhetorical forms and conventions of written discourse .
8. Appropriately accomplish the communicative functions of written tasks according to

form and purpose .
41
9. Convey links and connections between events, and communicate such relations as
main idea, supporting idea, new information, given information, generalization, and
exemplification .
10. Distinguish between literal and implied meanings when writing .

11. Correctly convey culturally specific references in the context of written text
12. Develop and use a battery of writing strategies, such as accurately assessing the
audience's interpretation, using prewriting devices, writing with fluency in the first drafts,
using paraphrases and synonyms, soliciting peer and instructor feedback, and using
feedback for revising and editing .
PRACTICAL PART IN DEVELOPING MICRO&MACRO SKILLS
IN A COMPETENCE_BASED CURRICULUM .
- Designing assessment tasks : ( IMMITATIVE WRITING )
English learners, from young children to older adults, need basic training in and
assessment of imitative writing,the rudiments of forming letters, words and simple
sentences . we examine this level of writing first .
-Tasks in ( Hand )Writing letters,Words,and punctuation .
Handwriting has the potential of becoming a lost art as even every young children are
more and more likely to use keyboard to produce writing . Making the shapes of letters
and other symbols is now more a question of learning typing skills than of training the
muscles of the hands to use a pen or a pencil. Nevertheless, fro all practical purposes,
handwriting remains a skill of paramount importance within the larger domain of
language assessment .
A limited variety of types of tasks are commonly used to assess a person's ability to
produce written letters and symbols . A few of the more common types are described
here :
1. copying : There is nothing innovative or modern about direction a test-taker to copy

letters or words. The test-taker will see something like the following :-
Handwriting letters, words, and punctuation marks.
The test-taker reads : Copy the following words in the spaces given :
Ex: bit bet bat but Oh! Bin din gin Hello,John.
___ ___ ___ ___ ____ ___ ___ ___ _________
42
2. Listening cloze selection tasks
These tasks combine dictation with a written script that has a relatively frequent deletion
ratio . The test sheet provides a list of missing words from which the test-taker must
select .The purpose at this stage is not to test spelling but to give practice in writing to
increase the difficulty.
The test-takers hear : Write the missing word in each blank . Below the story is a list of
words to choose from .
Have you ever visited San Francisco ? It is a very nice city . It is cool in the summer and
warm in the winter. I like the cable cars and bridges .
Test –Takers see :
Have __________ever visited San Francisco ? It ________ a very nice _______. It is

__________in __________summer and ___________in winter . I _____________the
cable cars __________bridges .
Is you cool city
Like and the warm
3. Picture-cued tasks
Familiar pictures are displayed with the objectives of focusing on familiar words whose
spelling may be unpredictable . Items are chosen according to the objectives of the
assessment, but this format is an opportunity to present some challenging words and
word pairs: boot/book, read/reed, bit/bite ,etc.
4. Form completion task
Filling in a simple form ( e.g., registration , application , etc. ) that asks for name ,
address , phone number , and other data .assuming , of course , that prior classroom
instruction has focused on filling of such forms .
5. Converting numbers and abbreviations to words .
Some tests have a section on which numbers are written- for example, hours of the day ,
dates , or schedules and test-takers are directed to write out the numbers . This task can
serve as a reasonably reliable method to stimulate handwritten English . It lacks
43
authenticity , however , in that people rarely write out such numbers ( except in writing
checks ) .If you plan to use such a method , be sure to specify exactly what the criterion
is .Converting abbreviation to words is more authentic . we actually have occasions to
write out days of the week. Months , telephone
Test-takers hear : Fill in the blanks with words
Test-taker see : ( 9:00 ________5:45_________5/3________Tues____)
6. Multiple-choice reading-writing spelling tasks
Presenting words and phrases in the form of a multiple-choice task . there will be the
risks of crossing over into the domain of assessing reading but they can serve as
formative reinforcement of spelling conventions .They might be more challenging with
the addition of homonyms . Here are some examples :-
Test-takers read :
Choose the word with the correct spelling to fit the sentence. Then write the word in
the space provided .
1. He washes his hands with ________________.
A. soap B. sope C. sop D. soup
2. I tried to stop the car, but the ___________ didn't work .
A. braicks B. brecks C. brakes D. bracks
3. The doorbell rang, but when I went to the door, no one was ________.
A. their B. there C. they're D. thair
Designing Assessment Tasks :
Intensive ( Controlled ) Writing
A good deal of writing at this level is display writing as opposed to real writing : students
produce language to display their competence in grammar , vocabulary, or sentence
formation, and not necessarily to convey meaning for an authentic purpose . The
traditional grammar/vocabulary test has plenty of display writing in it, since the response
mode demonstrates only the test-taker's ability to combine or use words correctly, No
new information is passed on from one person to another
44
Dicto-Comp
A form of controlled writing related to dictation is a dicto-comp. Here, a paragraph is

read at normal speed , usually two or three times, then the teacher asks pupils to rewrite
the paragraph from the best of their recollection . In one of several variations of the
Dicto-comop technique,the teacher, after reading the passage, distributes a handout with
key words from the paragraph as ques for the pupils .
Grammatical Transformation Tasks
This technique is used as an assessment task, ostensibly to measure grammatical

competence . Numerous versions of the task are possible :
- Change the tenses in a paragraph.
- Change full forms of verbs to reduced forms ( contractions ).
- Change statements to ( Yes/No ) questions .
- Change questions into statements .
- Combine two sentences into one using a relative pronoun .
- Change direct speech into indirect speech .
- Change from active into passive voice .
Picture-cued Tasks :
1. Short Sentences
A drawing of some simple actions is shown . The test-taker writes a brief sentence
2. Picture description .
A somewhat more complex picture may be presented showing, say, a person reading on
a couch, a cat under a table, books and pencils on the table,chairs around the table , a
lamp next to the couch , an a picture on the wall over couch . Test-takers are asked to
describe the picture using four of the following prepositions ; on, over, under, next to,
around. As long as the prepositions are used appropriately, the criterion is considered to
be met
45
3. Picture sequencing description .
A sequence of three to six pictures depicting a story line can provide a suitable
stimulus for written production. The pictures must be simple and unambiguous . Writing
the correct form of the verb is the criterion .Pictures should help Test-takers .
Vocabulary Assessment Tasks :
READ ( 2000 ) suggested several types of items for assessment of basic knowledge of
the meaning of a word, collocational possibilities,and derived morphological forms. His
example centered on the word interpret, as follows :
Test-takers read :
1. Write two sentences, A and B. In each sentence, use the two words given.
A. interpret, experiment ____________________________________
B. interpret, language ______________________________________
2. Write three words that can fit in the blank .
i.____________________
ii. __________________
iii. ___________________
3. Write the correct ending for the word in each of the following sentences :-
- Someone who interprets is an interpret________.
- Something that can interpreted is interpret_______.
- Someone who interprets gives an interpret________.
Vocabulary assessment is clearly form-focused in the above tasks, but the

procedures are creatively linked by means of the target word, its collocations, and its
morphological variants. At the responsive and extensive levels, where learners are called
upon to create coherent paragraphs, performance obviously becomes more authentic, and
lexical choice is one of several possible components of evaluation of extensive writing
Ordering Tasks
Re-ordering scrambled words to form meaningful sentence
DESIGNING ASSESSMENT TASKS : ( RESPONSIVE&EXTENSIVE
46
-Paraphrasing .
One of the difficult concepts for learners to grasp. The purpose here is to ensure that
learners understands the content and be able to interpret it in their own words.
- Guided Questions and answers:
The teacher here poses a series of questions that essentially serve as an outline of the
emergent written text. The following kind of questions might be posed to stimulate a
sequence of sentences .
Guided writing stimuli :
1. Where did this story take place ? [ Setting ]
2. who were the people in the story ? [ characters]
3. What happened first ? then ? [ sequence of events ]
4. Why did ____________do __________? [ reasons ]
5. What did __________think about ____________ ? [ opinion ]
6. What happened at the end ? [ climax ]
7. What is the moral of this story ? [ evaluation ]
47

Developing Macro Skills in Acompetence Based Curriculum Handout PDF

Uploaded by

Copyright:

Available Formats

Developing Macro Skills in Acompetence Based Curriculum Handout PDF

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Developing Macro Skills in Acompetence Based Curriculum Handout PDF

Uploaded by

Copyright:

Available Formats

Developing the macro skills in a competence based curriculum

Developing listening and speaking

also known as "macro skills'

Listening: This is a communication technique that requires the listener to understand,

Listening is the most important skill in communication. It is a mental operation involving

Listening strategies are techniques or activities that contribute directly to the

listening for the main idea

You should know that there are different types of listening:

Before you listen

Check whether you have completed your task correctly.

Now let's see if you can come with your own.

Speaking is the second of the four language skills, which are:

Speaking can be formal or informal:

What is meant by "teaching speaking" is to teach ESL learners to:

Show Some Enthusiasm

discrepancy applies when you‘re communicating a positive message without facial

How to Avoid This Barrier:

Use Gestures for Emphasis

How to Avoid This Barrier:

Using PowerPoint as a Crutch

How to Avoid This Barrier:

Design Visual Aids, not Wordy Slides

Lack of Eye Connection

Ideas for Supporting Speaking and Listening Activities

Developing reading skill in a

Why we need to develop reading skills

L1 literacy leads to L2 literacy development awareness. Reading itself builds on oral

 Hear a word before you can say it

Beginning reading: learning letters

Beginning reading: introducing letters

Foundations - The sound system of English

Some suggestions for introducing letters

3. Hold up a letter and ask ‗Is this a /b/?‘ or ‗What is this?'.

Beginning reading: recognition games

Run and point

What begins with /b/?

Hold up the letter

Recognising the letters

Produce handouts like this:

Beginning reading: learning words

E.G. /c/ /a/ /t/ = cat

You can produce easy worksheets like this:

atc = gdo = npe =

How to explore reading with young learners

Phonemic awareness (grapho-phonics)

6 Strategies for Reading with Young Learners

Extra materials may include:

1 SHARED GROUP READING

 introduces reading as a fun, group activity

2 READ ALOUD AND BUILD A DIALOGUE

3 MOVE AND ACT

 When there‘s action, imitate the characters in the book.

[[ 4 HAVE FUN WITH FLASHCARDS

 Use flashcards for fun games:

5 DO CREATIVE PROJECTS AND PLAY GAMES

 Listen to the chants

Teaching Reading Comprehension in CBC :

Research indicates that we build comprehension through the teaching of comprehension

What Do Good Readers Do?