Lesmateriaal

The language competent teacher, a podcast about language competencies of teachers in the Netherlands and in Flanders, with Charlotte Krull and Shaak Hartog. Welcome. Teachers are the key figures in education. As a teacher and an inspirator, you bring your teachers knowledge, skills and attitudes. But that can only be done if you have the right language competencies. But what are those language competencies? They are determined by the language union. We try to explain them as specifically as possible, with examples and tips. Together with the experts who have designed the language competencies. This episode is about language-based teaching. We are talking about Inge Plakleij and Gino Bombeke. Gino, you are a teacher, a teacher, an educational master at the KU Leuven. What is a language competent teacher for you? A language competent teacher is someone who is aware of language in the first place, who knows how to reach his goals. To teach something late, about the content of the classroom. Will he answer good questions? Will he keep in mind the beginning situation of teachers? Will he give right feedback? Will teachers learn something about the content and the words that are associated with it? A language competent teacher is in the second place. And I think that is very important. Also a teacher who stimulates the language with teachers, so that teachers can read critically. That even if they don't want to, they only have the ability to write. It is a teacher who teaches the teachers, in the form of a opinion, who ensures that they are allowed to come into a conversation. All those concepts that are also very important in school and in the society. Inge, you work as a teacher on the project "Germany students at the Free University of Brussels" and "High School at XL". What is the question for you? When is a teacher competent? A teacher needs to talk about competencies, which in fact set him up, to be able to use language wisely and consciously. And in fact it is to use a wider range of language tools and registers, for both doctoral, pedagogical and professional purposes. Language, teaching materials or texts are very important there. Gino, with whom a language competent teacher is the best at teaching in the classroom? I think he can do everything in principle. I think we should see the term text as wide as possible. School books are a text, articles are a text, but also podcasts, infographics, poems are all texts that can have a place in the classroom. I think it is important to think about what text you are going to use at what moment. And then I would mainly look at the teachers who are sitting against you and what you want to achieve with the text. A fragment that you want to use to teach a lesson. If it is another fragment, then a lesson that you use to establish knowledge or to let teachers react critically to a fragment. I think those three parts, the text, the teacher and the goal, are very important. Inge, how do you look at it? If the teacher chooses texts to use in the classroom, what should he do? Yes indeed, it is important that the teacher will consciously select those texts to stimulate the language development or the vector development of the teacher as well as possible, and try to estimate the language material well. Can you give them an example of that? Yes, in the search for, keeping account of, with possible static blocks in the teacher, for example, if the text contains a lot of vector, or if there is a lack of text or if the text has a very high information density, then you have to go to vote with the target group, or if that is a suitable text. The language competent teacher is very aware of rich texts that are real-life at the forefront, and who are interested in learning, and can speak their language and knowledge at different levels. Levels are important there. You do not always have to go for the easiest way, Gino. The landmark of rich text is that it is a text that the teachers can come across at school, but especially in the outside world. And it is a text that has a certain difficulty level. When the teachers are not so skilled, or when their teacher notices that the teachers have difficulty with text, then they are disappointed to say, "I steal those texts away, and I replace them with watching fragments or listening fragments." But that is how you learn all the exercises. I think it is much more important to go into what you can do with the teacher to go to the battle with that text. And that can be forgotten before the lessons are over, which teachers already know, or they already know some terms, or this is what they learned last year, or a different subject. But that can also be read during the lesson. It can be, for example, that you will learn with the teachers, that you read a piece and ask, "What do you expect to happen now?" Is that something that you recognize or not? And that can certainly be forgotten. In the reflection, it is super important to go into my lessons on how they have experienced that text, were the images that helped them read it, were the word choices too difficult, did they bother with listening fragments, an accent of someone, or the consciousness of difficult words? Those are all things that can come up explicitly. And that we have to tackle, if we do not want to step into the case, that we select easy fragments for the lessons. In our professional education, the language differences are very large, then it is important that you see a very rich wire to different texts. Teachers can then choose a text that connects the best to their level. If you notice that the teachers will choose the most simple texts, then you know that too. And then you can also take it out to choose the slightly smaller texts. So you can, through a rich wire to apply text material, for example the dog itself, you can suggest that you can choose a suitable text for each teacher. Inge, if there are no texts for hands, what can you do about them? If you have to give lessons to teachers from the classroom, so actually teachers who are still familiar with the Netherlands, then it is not always too evident to find suitable material. Then you have a good experience with, for example, the project around photo-voicing, where teachers themselves go in search of photos that, for example, say something about how they see their future within five years. Then you can leave those photos and let them tell you about them. And the photo itself, of course, offers a lot of support, visual support, with what the teacher then says. My advice to people would be to not directly use the pen or not directly start taking up fragments yourself, but choose fragments that exist and that really come in front and especially to put it on the support of teachers, especially to put it on. What do you think that the teacher will do? What can you do in advance? Through visualisation or through reading or thinking hard to put that teacher in the opportunity to go on with the text. We see that and that is with the best intentions that people take up an audio fragment that actually already exists. Or that they will write texts that only take short sentences or only take very understandable words. And that can be good as an introduction, but it does make sure that teachers with that material continue to be confronted. So I would mainly focus on the support earlier than on the approach of new material. Yes, it is also very important that texts are really going to be connected to the living world of the young people in the group field that they have chosen for. Now, of course, you also don't have to just stand still with that living world. So also the intention is that we are going to expand the living world. I then think of an example, the teaching without teaching, where we give teachers a voice in the climate issue. Now, the climate issue is very complex. And the language used by scientists to solve the climate problem is often difficult with a lot of teaching and teaching. And yes, here we have set up a community service learning project where students, teachers, together with local organizations try to engage in teaching for the climate issue and the problem of climate change will be thus much possible via varied audiovisual image materials. And then the teachers go together in dialogue and they go looking for solutions. And yes, the goal is that we are going to translate those solutions into art works. And then, for example, that can be poems, that can be slam poetry, or that can be songs, such as raps. And they are also supported to make those poems. Inge gives here a very nice example of texts that lead to something. Texts that teach students to go to work to make things, to change their opinion. And let that be the landmark of texts where teachers sometimes go past. Usually we choose a text because we find it very interesting. And then we take it with us to class. Then we read it. We ask questions about it. And then it ends. A good text that makes sure that teachers go to work, that they confront opinions, that they are going to put together. And that is also very important not to stand still at one text. But to see how different authors or different sources of information go around, so that the spectrum of source selection and the judgment of information also gets a place in that class. I want to take a look at what Inge just said about the climate issue. I gave two-month lessons at a school in Amsterdam, group 7. There are a few students who get an extra lesson this week. Because they have to be extra exposed. They took part in a national competition to solve a climate problem. From the 130 schools they became second. And what did they have in mind for the climate issue? They had a bird, a robot bird, that produced wolves to stay colder in places where the climate actually needs to stay. Because with those wolves they make sure that it is not too hot. They were there last summer. And they won the second place. That's amazing. And that also gives the students an enormous boost to to put in more for the climate and to use language very functionally for a theme. It's also a very nice example of a task that is independent of text. If you have that kind of task, then it doesn't matter if you want to do that next year with history, or with physics, or if you want to do that with food, your task will remain consistent and is a rich task. And your text material, you can adapt that to the teaching that is in front of you, in terms of profile, but also in terms of difficulty. We have a fragment here of a Dutch cabaretier, which plays with language. We would like to know what you think of it. You can participate in the next number. It consists of numbers. From the rules of the last word I have to be translated in English to get the last word. In Dutch. The last word seems to be there. I will give an example. You have some English words that sound about the same as Dutch words. "A sea" is in English a lake. That also means something in Dutch, the past tense. You can make sentences with that. "In something on a sea lake, swum a whistle in my a-s-beet." What does someone else say? A song like that? A song like that? I don't get that you don't want to be in a testament. A letter that you need to read. While I have a friend with a piece of paper. "A sea" And after a blonde hair lock I look at. "A sea" I ask her how she thinks. Why is she so cute? "A sea" I think I was there, but it was dry. "A sea" "A sea" Humor and language. We have just listened to a segment of Kees Torn. Humor and language are combined in a way to wake up the love for language at learning. Do you want to play this kind of language in the class? Yes, to listen to this kind of assignment, but also to let students try it themselves. They are naturally cut, also for strange languages. It is something that awakens creativity. It is something that students like to do, and at the same time it makes sense to not talk to teachers. I think Kees Torn does everything that a competent teacher has to do. He takes a step back, he receives, he gives examples, songs, songs, he takes care of interaction, in all ways. It is a difficult assignment, because it is for this audience. It is a very complex assignment. It is not thrown away, it is thrown away. He teaches his audience before he leads it. With the instruction, it is then carried out interactively. Yes, and then it becomes a very challenging assignment for teachers. I think we have to find out how we can make our teachers as well as possible, via our assignments, and also very creative assignments. Inge, how do we ensure that something is authentic? I had illustrated that as an example. I am teaching students in the teaching service. We also try to put the link with a teaching field. So my students have made a podcast for years and for and for years. First, they make a manual via book creator, where teachers are prepared to make a podcast. Teachers listen to the available podcasts and get feedback. They take the criteria for a good podcast, for a good interview. They prepare the interview before and they simulate the interview in the classroom and get peer feedback from the other teachers. In the end, they make agreements with the living care center and take the interviews off. Each interview starts with the favorite song of a student. After that, the interviews are collected as well as the preparation, the presentation of the agreements, the presentation of the interviews and the deepening of the podcast are really valuable competencies. The example that gives is a very warm example. It is also an example of something that will teach a different school. You could also give a lesson about the interview and then let students hear an interview and ask questions about how a conversation is going to teach a different argument. But here, it really gets an authentic fill-in. It is something that outside the classroom also has value and that students will do well. A lot of feedback that you have to give as a teacher about how students talk or how students ask questions, will they discover themselves or will they discover themselves now? I am sure of that. A lot of students have said that they have made the interview new because that person did not come out well. Those are things that you do not reach when your students come to the classroom one after the other to break a powerpoint. So in that respect, I think that is a really short assignment. Gino, how do you do that? How do you bring authenticity to your students? Another authentic material that I am sure to see in the paint is Infographics. It is a brush that is actually used very little and that is a brush that students often come across in paper and paper and it is also a very short brush because it brings the visual and the content together in a very nice way. I would always advise people to make use of consciously fake brushes. You have a very ludicrous website such as The Rascal de Rij, TV-Olen, The Speld, where information is presented on paper as if it is real information and if you do not look well and you take it out of that context then it sometimes takes a while for you to see that it is a fake brush. Especially in the context of fake news, especially in the context of "everyone can throw away their opinion as if it is a fact" it seems to me to deal with consciously fake brushes a very nice element to let it come into every section. There are a lot of digital changes that have been implemented in the past years. Smartboards are almost no longer out of the classroom. Digitalization offers possibilities. You can also do a lot with smartphones. Yes, if I now think of a photo voice project where students pull out and try to take photos of things that are very important, then they have a smartphone and then they can take photos of them and often that also gives a good quality. In the classroom, you can use it to the fullest and then tell them what exactly that photo will mean to them. But also by taking pictures of interviews you can also use it through your smartphone. Indeed, there are a lot of opportunities. ICT Bridge has very nice opportunities. What you see for example, in writing skills, is that teachers often write to deadlines and then do not read their own work or do not like that. If you need teachers to write the text they have made in a text-to-speech software and then listen to how that sounds when the computer reads it, then they will break the words, long sentences, double words, that will also be affected. And then teachers will be more motivated to do that. I would always note that as a teacher, that you do not leave the app or the application, that you always leave your goal and that the smartphone is not annoying because it is a smartphone. You take a step back and then a step forward. But working on Brainstorms, using ICT to make blogs, to make podcasts, also ensures that the teacher does not remain the only challenger. Very cruelly. Teachers see teachers often as people who are paid to improve that. When no project does that, outside the school walls and the public, then they will learn a lot more and will also motivate a lot more and will be able to work half-time at their office. There is an app, Tiktok, and on the smartphone, which is incredibly popular with young people and also with children. Yes, you can find everything you want, you can find most of the houses and kitchen videos of people who have small accidents at home. In the past, you had program brands of the first home videos. But in the meantime, it has evolved to a large source of information, in which children, as adults, actually make mini-presentations. Within a minute, a very compact form of information is released. In the US, you have show and tell, in the Netherlands, there is talk. But how can you present something in one minute? It is incredible how many people on Tiktok make a sport to release incredibly much information in one minute. And language is a great tool. And teachers like to do that, that it is super motivating. Those one-minute presentations also provide cooperation between teachers. You can perfectly, as a teacher, as a teacher in informatics or as a teacher in economics or food, together with your colleague Frans or Engels or the Netherlands, to make such a one-minute presentation. Teachers will see that numbers, if this is produced, 12,000 megawatts of energy, that often says very little, what is the value of such a number? It also ensures that things that come to mind, that you can let go of them by teachers, and that you can let go of those fragments in the course of the year, so that at different times there is an attention to the ability to speak, and that you do not always have to give the instruction, that the instruction of teachers comes by itself, that they also have a lot more the feeling that what they have made contributes to something that can take place in that class. That was it for this presentation. Thanks to Inge Placlet and Gino Bombeke. Nice to meet you. Nice to meet you. Next time we will talk about teachers' own language skills. See you.