I write and read so many rants about them. Global coursebooks are too ‘catch-all’, they’re not aligned with what we know about second language acquisition, they’re a straightjacket, the images promote certain ideals, the content is too diluted, etc.
Like them or not, many teachers are bound to using a coursebook. Maybe a syllabus is coursebook-driven, the school demand it, the expectation from parents is that they’ve shelled out for the book so it must be completed cover-to-cover. Whatever. It happens. I can rant about it on my blog until the cows come home, but at the end of the day I’ve got to find a way to use it.
My school mostly use their own in-house materials, but we have a coursebook-driven syllabus for the teens (well, until next year). Here’s an example of some of the steps I go through when planning from the book. These are meant for less-experienced teachers. They are representative of my classroom practice but I can’t guarantee they’ll be effective (!). Every class is different.
Here we go. I have a copy of Beyond A2+ (Macmillan). I’m opening it at random… and we got…
For my teens? COME ON! Can I start again? No? Right. Ok… (more…)
Images in ELT coursebooks are often ambiguous. What might seem a fairly obvious depiction of an act or concept to us may be perceived as something completely different to our learners.
In an interesting, small-scale study, Hewings (1991) asked a group of Vietnamese learners in England to interpret various illustrations found in Elementary level coursebooks. For most of the images correct interpretation would require some culturally-specific knowledge, and written text around the images was removed so the learners weren’t given any support.
Hewings found many types of image were interpreted differently from what was intended. One example was with illustrations portraying people in certain roles, where learners failed to recognise certain stereotypes (e.g. rich/poor). He found, understandably, that culturally-specific job roles (e.g. a priest) were misinterpreted, as were situational images.
Maps like this room plan were also confused…
taken from Hewings (1991)
Some learners thought this was a view of a house from top to bottom rather than a floor plan from above. Symbolic representations like thought bubbles were also misinterpreted, and images like the ones below were seen as something different – the first image being a children’s slide, a reception desk, and ‘information’.
taken from Hewings (1991)
Interpretation of graphs also seemed an issue, particularly dealing with keys.
Hewings made some clear points in conclusion (mostly quotes here):
- ‘we inevitably see illustrations from a culturally based viewpoint…’
- We assume that everyone perceives images in the same way
- ‘We assume that students have the necessary skills to make sense of information presented in the form other than a text’
- Interpretations are unpredictable
- Images are a chance to make learners aware of visual representations of a cultural group/target language
What are coursebooks to you? This question prompted plenty of discussion on our materials development course. We were given various metaphors to choose from – a springboard, a straitjacket, a recipe, a compass, etc. I opted for a crutch, as I felt it was something that supported the students learning (and my planning). Mind you, one coursebook I used recently felt more like a headwind. More specifically, a headwind while running on a sloping, pebbly beach in winter during a mild storm. I won’t name the book in question…!
I’ve been a materials writer for 2 months now. It’s about time I started reflecting on it. I haven’t had time to do so as it’s a very busy role – hence the lack of blog activity.
I’m currently writing lessons for a functional, task-led syllabus. There’s a strong focus on speaking, listening and pronunciation. Each lesson has a listening text (well, bout 90% of them do) which is a model for the main task that students complete during a lesson. Target language and target pronunciation features (normally suprasegmental) all appear in the listening text. The text itself is commercially produced, by which I mean I write it, it’s kind of semi-authentic.
I’ve been thinking quite a bit about the nature of these listening materials since starting the job (and even since teaching the product). I’m trying to decide whether I’m pro- or anti- when it comes to these semi-authentic materials, or whether I need to have either stance. Here are a few of my thoughts. (more…)