suggestopedia

Learning is a matter of attitude, not aptitude.
Georgi Lozanov

Suggestopedia is a teaching method which is based on a modern understanding of how the human brain works and how we learn most effectively. It was developed by the Bulgarian doctor and psychotherapist Georgi Lozanov (see right). The term 'Suggestopedia', derived from suggestion and pedagogy, is often used loosely to refer to similar accelerated learning approaches. However, Lozanov reserves the title strictly for his own method, and he has his own training and certification facilities.
Suggestopedia was originally applied mainly in foreign language teaching, and it is often claimed that it can teach languages approximately three times as quickly as conventional methods. It is now applied in several other fields, and its central ideas inspired the development of my own Brainware workshops. Another revolutionary language teacher who developed his own distinctive methods was the late Michel Thomas, his numerous famous clients including: Woody Allen, Bob Dylan and Eddie Izzard.

Key Elements of Suggestopedia

Some of the key elements of Suggestopedia include a rich sensory learning environment (pictures, colour, music, etc.), a positive expectation of success and the use of a varied range of methods: dramatised texts, music, active participation in songs and games, etc.

Suggestopedia adopts a carefully structured approach, using four main stages as follows:

Presentation

A preparatory stage in which students are helped to relax and move into a positive frame of mind, with the feeling that the learning is going to be easy and fun.

First Concert - "Active Concert"

This involves the active presentation of the material to be learnt. For example, in a foreign language course there might be the dramatic reading of a piece of text, accompanied by classical music.

Second Concert - "Passive Review"

The students are now invited to relax and listen to some Baroque music, with the text being read very quietly in the background. The music is specially selected to bring the students into the optimum mental state for the effortless acquisition of the material.

Practice
The use of a range of games, puzzles, etc. to review and consolidate the learning.

the audio-lingual method and the silent way

The Audio-lingual Method

This method is based on the principles of behavior psychology. It adapted many of the principles and procedures of the Direct Method, in part as a reaction to the lack of speaking skills of the Reading Approach.

New material is presented in the form of a dialogue. Based on the principle that language learning is habit formation, the method fosters dependence on mimicry, memorization of set phrases and over-learning. Structures are sequenced and taught one at a time. Structural patterns are taught using repetitive drills. Little or no grammatical explanations are provided; grammar is taught inductively. Skills are sequenced: Listening, speaking, reading and writing are developed in order. Vocabulary is strictly limited and learned in context. Teaching points are determined by contrastive analysis between L1 and L2. There is abundant use of language laboratories, tapes and visual aids. There is an extended pre-reading period at the beginning of the course. Great importance is given to precise native-like pronunciation. Use of the mother tongue by the teacher is permitted, but discouraged among and by the students. Successful responses are reinforced; great care is taken to prevent learner errors. There is a tendency to focus on manipulation of the target language and to disregard content and meaning.

Hints for Using Audio-lingual Drills in L2 Teaching :

1. The teacher must be careful to insure that all of the utterances which students will make are actually within the practiced pattern. For example, the use of the AUX verb have should not suddenly switch to have as a main verb.
2. Drills should be conducted as rapidly as possibly so as to insure automaticity and to establish a system.
3. Ignore all but gross errors of pronunciation when drilling for grammar practice.
4. Use of shortcuts to keep the pace o drills at a maximum. Use hand motions, signal cards, notes, etc. to cue response. You are a choir director.
5. Use normal English stress, intonation, and juncture patterns conscientiously.
6. Drill material should always be meaningful. If the content words are not known, teach their meanings.
7. Intersperse short periods of drill (about 10 minutes) with very brief alternative activities to avoid fatigue and boredom.
8. Introduce the drill in this way:
   a. Focus (by writing on the board, for example)
   b. Exemplify (by speaking model sentences)
   c. Explain (if a simple grammatical explanation is needed)
   d. Drill
9. Don’t stand in one place; move about the room standing next to as many different students as possible to spot check their production. Thus you will know who to give more practice to during individual drilling.
10. Use the "backward buildup" technique for long and/or difficult patterns.
    --tomorrow
    --in the cafeteria tomorrow
    --will be eating in the cafeteria tomorrow
    --Those boys will be eating in the cafeteria tomorrow.
11. Arrange to present drills in the order of increasing complexity of student response. The question is: How much internal organization or decision making must the student do in order to make a response in this drill. Thus: imitation first, single-slot substitution next, then free response last.

The Silent Way

[ Caleb Gattegno, Teaching Foreign Languages in Schools: The Silent Way. New York City: Educational Solutions, 1972. ]

Procedures

This method begins by using a set of colored rods and verbal commands in order to achieve the following:

To avoid the use of the vernacular. To create simple linguistic situations that remain under the complete control of the teacher To pass on to the learners the responsibility for the utterances of the descriptions of the objects shown or the actions performed. To let the teacher concentrate on what the students say and how they are saying it, drawing their attention to the differences in pronunciation and the flow of words. To generate a serious game-like situation in which the rules are implicitly agreed upon by giving meaning to the gestures of the teacher and his mime. To permit almost from the start a switch from the lone voice of the teacher using the foreign language to a number of voices using it. This introduces components of pitch, timbre and intensity that will constantly reduce the impact of one voice and hence reduce imitation and encourage personal production of one's own brand of the sounds.

To provide the support of perception and action to the intellectual guess of what the noises mean, thus bring in the arsenal of the usual criteria of experience already developed and automatic in one's use of the mother tongue. To provide a duration of spontaneous speech upon which the teacher and the students can work to obtain a similarity of melody to the one heard, thus providing melodic integrative schemata from the start.

Materials

The complete set of materials utilized as the language learning progresses include:

A set of colored wooden rods A set of wall charts containing words of a "functional" vocabulary and some additional ones; a pointer for use with the charts in Visual Dictation A color coded phonic chart(s) Tapes or discs, as required; films Drawings and pictures, and a set of accompanying worksheets Transparencies, three texts, a Book of Stories, worksheets

direct method [for teaching English]

The Direct Method (1970s)

This method presented discussion in the target language as the major priority. Reference to English equivalents became discouraged. Grammar learning became inductive in nature without overt explanations given the pupil. Teacher/student interaction became fuller, guessing of context or content, completing fill-ins, and doing “cloze” exercises were the order of the day. Accuracy in pronunciation and oral expression became vital. Examples to be followed became the main intention.

The direct method of teaching was developed as a response to the Grammar-Translation method. It sought to immerse the learner in the same way as when a first language is learnt. All teaching is done in the target language, grammar is taught inductively, there is a focus on speaking and listening, and only useful ‘everyday' language is taught. The weakness in the Direct Method is its assumption that a second language can be learnt in exactly the same way as a first, when in fact the conditions under which a second language is learnt are very different.

In the classroom

The teacher explains new vocabulary using realia, visual aids or demonstrations. Aspects of the Direct Method are still evident in many ELT classrooms, such as the emphasis on listening and speaking, the use of the target language for all class instructions, and the use of visuals and realia to illustrate meaning.

sources ;

http://linguatics.com/methods.htm

http://www.teachingenglish.org.uk/think/knowledge-wiki/direct-method