Movement and Music: Internalizing Vocabulary Through Gestures and Interpretation

By Patrick T. Randolph

Introduction

If we allow our students the opportunity to be creative, and if we encourage them to be cognitively and physically active in class, there is very little that they cannot learn—the world is essentially their oyster. Personalizing learning, making the content interesting, involving the emotions, and employing the senses—what I call the PIES of learning (i.e., personalization, interest, emotions, and senses) (see Randolph, 2020)—are four of the most powerful ways to ensure that English language learners (ELLs) encode, learn, recall, and correctly use English lexical items. One fun and effective way to personalize vocabulary, create an interest in it, and evoke the emotions and the senses is to use movement and music. This helps to internalize the essence of the terms. In this brief procedural article, I will first explain the importance of movement while learning. Next, I will discuss how music strengthens the learning process. Finally, I will show how I use an activity I have developed called “Movement & Lyrics” to teach vocabulary.

Movement

The human race has been on the move for thousands of years to the extent that our brain learns best if it is moving and in an active state (Medina, 2014; Ratey, 2010). Only until relatively recently have our days been taken up with the plasma screen world—both in- and outside the classroom. We are historically and naturally learners in motion, for that is how we have been able to survive and evolve.

Exercise, then, is one of the most important tools we have for learning because it provides more blood and oxygen to the brain. Exercise, perhaps more than any other activity, helps us learn and stay physically healthy and cognitively alert. This is well-supported by modern neuroscientists (Schmidt-Kassow et al., 2013; Zabriskie & Heath, 2019) as well as ancient philosophers (see Plato’s Republic, 375 BC/1985) and physicians (see Hippocrates’ Regimen 380 BC/1931). In fact, according to Llinás, “[t]hat which we call thinking is the evolutionary internalization of movement” (as cited in Ratey, 2010, p. 40). That is, we need movement to learn and retain what we learn. So, the question arises, “Why are our students always sitting?” To learn and learn effectively, we must employ movement and exercise in our lessons. The activity presented below, “Movement & Lyrics,” ensures the use of movement with powerful results.

Music

Music, like movement, has been an essential part of the human evolutionary process. Levitin (2007) argues, based on discoveries of human-made instruments, that “[m]usic predates agriculture in the history of our species. We can say, conservatively, that there is no tangible evidence that language preceded music” (p. 256). Moreover, archaeological discoveries have also found that musical instruments have been identified “everywhere we find humans, and in every era” (Levitin, 2007, p. 256). Music is yet another basic element of human history and the human condition.

It is also interesting to note that the countries around the world that record the highest math and science test results have equally impressive art and music programs for their students (Jensen, 2008). The implications of music run deep in the human psyche, for music is a crucial part of who we are, and it can help us grow cognitively as well. This is why music plays a very central role in our mental, emotional, cognitive, and physical well-being (Budson, 2020).

In terms of employing music as a learning tool, it can relax us and help us focus, or it can speed up our heart rate and pump more blood and oxygen to the brain—again, similar to the fruits of exercise. Music also promotes learning, creativity, and heightens the imagination (Jensen, 2008; Willis, 2006). And, like exercise, music simply makes us feel good, and this—in and of itself—is so important for a healthy and happy brain. Listening to music also improves memory, mood, and executive cognitive functions (Budson, 2020). That is to say music impacts many vital areas of the brain used for learning like the hippocampus, the amygdala, the temporal lobe, and the frontal lobe. In short, music, like exercise, uses and stimulates the whole brain in one way or another.

The Activity: “Movement & Lyrics”

Bringing the wondrous marriage of movement and music together can quickly and effectively help ELLs learn new vocabulary and reinforce a deeper understanding of the acquired terms. This is done by internalizing the lexical items through personalizing them, making them interesting, and eliciting the emotions and senses (i.e., the PIES of learning). I would like to point out at the start that this particular activity can be used for all levels of ELLs—it is equally effective for younger learners as well as adults. Let us now take a look at how I implement the activity in class.

Selecting a Song

First, I select a song appropriate for the level of the class. For example, younger or beginner ELLs might enjoy “Twinkle Twinkle Little Star,” where older or advanced ELLs might like Lenka’s “Everything at Once.” It is also important to select a YouTube video for the song that includes the lyrics. This helps reinforce the learning process because it facilitates multisensory learning, which has been proven to help in the encoding and learning process (Medina, 2014; McPherron & Randolph, 2014). That is, the students can both hear the words and read them, thus, making it easier to create gestures that will internalize the vocabulary items (Randolph, 2019). I, then, play the song once after a brief description of its content. As we listen, the students take notes on any unknown vocabulary. I write down the new terms on the board based on the students’ generated lists.

Going Over the Vocabulary

Next, I go over the words, phrases, idioms, similes, metaphors, or slang that might be new to the students. They are typically familiar with many words in the songs, but the new words ought to be addressed so the gestures and the interpretation of the song flow smoothly. For example, when I taught “Twinkle Twinkle Little Star,” I had to explain and create gestures for twinkle, diamond, and How I wonder. With respect to Lenka’s “Everything at Once,” I explained and created gestures for As stealth as a tiger. In addition, if the advanced students do not know about literacy devices such as similes and metaphors, it is best to explain or discuss what they are and why they are used. This is not necessary for the beginners as these literary terms will be taught in higher-level classes.

Suit the Action to the Word

The third stage is where the fun begins. I play the song again, and we come up with gestures that represent the words in the song. Here, the students begin to move and create gestures for each line of the song. We thus, as Shakespeare said, “[s]uit the action to the word, the word to the action.” I usually model the first few lines of the song to help my students see how it is done, but I like the students to take over and create their own gestures and facial expressions to fit the words or phrases in the song as soon as possible. The more they can create and own the song’s interpretation, the more they own the activity and the more they learn.

Ideally, I would like each student to interpret the song and create his/her own gestures for the lyrics. The quieter students, however, often follow what the more outgoing students do and simply mimic their movements. In the end, I think this is fine if they are learning in the process and the gestures internalize the essence of the vocabulary items.

As with any activity, this will be a bit challenging the first time a teacher tries it. The more often it is done, however, the smoother it becomes. In addition, the steps I have provided above can also be shortened once the students become familiar with the process. For example, after the activity has been done once or twice, the instructor can assign the song as homework. Then, in the next class, the teacher can go over the unfamiliar terms and proceed to the interpretation and gestures phase. It is also worth noting that it is not necessary to finish a whole song in one session if an instructor has limited time to do this activity. What is important is acquiring the terms in an enjoyable manner through movement and music.

Practice and Review

A highly effective way to make sure that the students learn the vocabulary in the songs and the gestures for the lyrics is to review the songs from time to time. This can be done at the beginning of class as a warm-up, or it can be done as a brain booster during class (Randolph, 2019). Reviewing the songs also reinforces the students’ confidence and internalizes what they have learned at deeper levels of understanding. And ultimately, it also helps embody the language and create a concrete knowledge of the terms.

Concluding Remarks

At the beginning of this article, I suggested that personalizing the material, making it of interest, and eliciting the emotions and senses will create a fun and successful learning environment. The fact that movement and music are the highlighted elements of this activity helps the students use their bodies and minds to internalize the vocabulary. This use of the body is a natural and powerful tool because it fosters a very robust method of forging strong neural connections, and thus strengthening the memory of the words with their corresponding actions. This activity of movement and music will also help students become more aware of the different ways that they can acquire vocabulary on their own and create similar activities to build their personal lexicon throughout their lives as language learners and self-inspired teachers.

References

Budson, A.E. (2020, October). Why is music good for the brain? Harvard Health Publishing. Retrieved from https://www.health.harvard.edu/blog/why-is-music-good-for-the-brain-2020100721062

Hippocrates. (1931). Regimen (W. H. S. Jones, Trans.). Harvard University Press. (Original worked published 380 BCE)

Jensen, E. (2008). Brain-based learning: The new paradigm of teaching. Thousand Oaks, CA: Corwin.

Levitin, D. J. (2007). This is your brain on music: The science of a human obsession. New York; NY. Plume.

McPherron, P., & Randolph, P. T. (2014). Cat got your tongue?: Recent research and classroom practices for teaching idioms to English learners around the world. Alexandria, VA: TESOL Press.

Medina, J. (2014). Brain rules: 12 principles for surviving and thriving at work, home and school. Seattle, WA: Pear Press.

Plato. (1985). The republic. (R.W. Sterling & W.C. Scott, Trans.). New York, NY: W.W. Norton. (Original work published 375 BC.)

Ratey, J.J., & Hagerman, E. (2010). Spark! How exercise will improve the performance of your brain. London, England: Quercus.

Randolph, P. T. (2019). Heightened awareness, attention, and focus with brain boosters. College ESL Quarterly, fall issue, 1-11.

Randolph, P. T. (2020). 13 neuroscience-based tips for teaching vocabulary: PART 1: Tips 1-8. College ESL Quarterly, summer issue, 1-10.

Schmidt-Kassow, M., Deusser, M., Thiel, C., Otterbein, S., Montag, C., Reuter, M., Banzen, W., & Kaiser, J. (2013). Physical exercise during encoding improves vocabulary learning in young female adults: A neuroendocrinological study. PlusOne, doi: 10.1371/journal.pone. 0064172

Willis, J. (2006). Research-based strategies to ignite student learning: Insights from a neurologist and classroom teacher. Alexandria, VA: Association for Supervision and Curriculum Development.

Zabriskie, H.A., & Heath, E.M. (2019). Effectiveness of studying when coupled with exercise-induced arousal. International Journal of Exercise Science, 12(5), 979-988.

Patrick T. Randolph specializes in vocabulary acquisition, creative and academic writing, speech, and debate. Patrick was awarded the “Best of TESOL Affiliates” in 2018 for his 2016 presentation on plagiarism. He has also received two “Best of CoTESOL Awards” for his 2017 and 2018 presentations on observation journals and creative writing. Recently, Patrick received the “Best Session Award” from MinneTESOL (2019-2021) and consequently another “Best of TESOL Affiliates,” and he has published New Ways in Teaching with Creative Writing with Joseph Ruppert. Patrick lives with his wife, Gamze; daughter, Aylene; cat, Gable; and puppy, Bubbles in Lincoln, Nebraska, USA.

Image by www.pixabay.com


Movement and Music: Internalizing Vocabulary Through Gestures and Interpretation By Patrick T. Randolph Introduction If we allow our students the opportunity to be creative, and if we encourage them to be cognitively and physically active in class, there is very little that they cannot learn—the world is essentially their oyster. Personalizing learning, making the content interesting, involving the emotions, and employing the senses—what I call the PIES of learning (i.e., personalization, interest, emotions, and senses) (see Randolph, 2020)—are four of the most powerful ways to ensure that English language learners (ELLs) encode, learn, recall, and correctly use English lexical items. One fun and effective way to personalize vocabulary, create an interest in it, and evoke the emotions and the senses is to use movement and music. This helps to internalize the essence of the terms. In this brief procedural article, I will first explain the importance of movement while learning. Next, I will discuss how music strengthens the learning process. Finally, I will show how I use an activity I have developed called “Movement & Lyrics” to teach vocabulary. Movement The human race has been on the move for thousands of years to the extent that our brain learns best if it is moving and in an active state (Medina, 2014; Ratey, 2010). Only until relatively recently have our days been taken up with the plasma screen world—both in- and outside the classroom. We are historically and naturally learners in motion, for that is how we have been able to survive and evolve. Exercise, then, is one of the most important tools we have for learning because it provides more blood and oxygen to the brain. Exercise, perhaps more than any other activity, helps us learn and stay physically healthy and cognitively alert. This is well-supported by modern neuroscientists (Schmidt-Kassow et al., 2013; Zabriskie & Heath, 2019) as well as ancient philosophers (see Plato’s Republic, 375 BC/1985) and physicians (see Hippocrates’ Regimen 380 BC/1931). In fact, according to Llinás, “[t]hat which we call thinking is the evolutionary internalization of movement” (as cited in Ratey, 2010, p. 40). That is, we need movement to learn and retain what we learn. So, the question arises, “Why are our students always sitting?” To learn and learn effectively, we must employ movement and exercise in our lessons. The activity presented below, “Movement & Lyrics,” ensures the use of movement with powerful results. Music Music, like movement, has been an essential part of the human evolutionary process. Levitin (2007) argues, based on discoveries of human-made instruments, that “[m]usic predates agriculture in the history of our species. We can say, conservatively, that there is no tangible evidence that language preceded music” (p. 256). Moreover, archaeological discoveries have also found that musical instruments have been identified “everywhere we find humans, and in every era” (Levitin, 2007, p. 256). Music is yet another basic element of human history and the human condition. It is also interesting to note that the countries around the world that record the highest math and science test results have equally impressive art and music programs for their students (Jensen, 2008). The implications of music run deep in the human psyche, for music is a crucial part of who we are, and it can help us grow cognitively as well. This is why music plays a very central role in our mental, emotional, cognitive, and physical well-being (Budson, 2020). In terms of employing music as a learning tool, it can relax us and help us focus, or it can speed up our heart rate and pump more blood and oxygen to the brain—again, similar to the fruits of exercise. Music also promotes learning, creativity, and heightens the imagination (Jensen, 2008; Willis, 2006). And, like exercise, music simply makes us feel good, and this—in and of itself—is so important for a healthy and happy brain. Listening to music also improves memory, mood, and executive cognitive functions (Budson, 2020). That is to say music impacts many vital areas of the brain used for learning like the hippocampus, the amygdala, the temporal lobe, and the frontal lobe. In short, music, like exercise, uses and stimulates the whole brain in one way or another. The Activity: “Movement & Lyrics” Bringing the wondrous marriage of movement and music together can quickly and effectively help ELLs learn new vocabulary and reinforce a deeper understanding of the acquired terms. This is done by internalizing the lexical items through personalizing them, making them interesting, and eliciting the emotions and senses (i.e., the PIES of learning). I would like to point out at the start that this particular activity can be used for all levels of ELLs—it is equally effective for younger learners as well as adults. Let us now take a look at how I implement the activity in class. Selecting a Song First, I select a song appropriate for the level of the class. For example, younger or beginner ELLs might enjoy “Twinkle Twinkle Little Star,” where older or advanced ELLs might like Lenka’s “Everything at Once.” It is also important to select a YouTube video for the song that includes the lyrics. This helps reinforce the learning process because it facilitates multisensory learning, which has been proven to help in the encoding and learning process (Medina, 2014; McPherron & Randolph, 2014). That is, the students can both hear the words and read them, thus, making it easier to create gestures that will internalize the vocabulary items (Randolph, 2019). I, then, play the song once after a brief description of its content. As we listen, the students take notes on any unknown vocabulary. I write down the new terms on the board based on the students’ generated lists. Going Over the Vocabulary Next, I go over the words, phrases, idioms, similes, metaphors, or slang that might be new to the students. They are typically familiar with many words in the songs, but the new words ought to be addressed so the gestures and the interpretation of the song flow smoothly. For example, when I taught “Twinkle Twinkle Little Star,” I had to explain and create gestures for twinkle, diamond, and How I wonder. With respect to Lenka’s “Everything at Once,” I explained and created gestures for As stealth as a tiger. In addition, if the advanced students do not know about literacy devices such as similes and metaphors, it is best to explain or discuss what they are and why they are used. This is not necessary for the beginners as these literary terms will be taught in higher-level classes. Suit the Action to the Word The third stage is where the fun begins. I play the song again, and we come up with gestures that represent the words in the song. Here, the students begin to move and create gestures for each line of the song. We thus, as Shakespeare said, “[s]uit the action to the word, the word to the action.” I usually model the first few lines of the song to help my students see how it is done, but I like the students to take over and create their own gestures and facial expressions to fit the words or phrases in the song as soon as possible. The more they can create and own the song’s interpretation, the more they own the activity and the more they learn. Ideally, I would like each student to interpret the song and create his/her own gestures for the lyrics. The quieter students, however, often follow what the more outgoing students do and simply mimic their movements. In the end, I think this is fine if they are learning in the process and the gestures internalize the essence of the vocabulary items. As with any activity, this will be a bit challenging the first time a teacher tries it. The more often it is done, however, the smoother it becomes. In addition, the steps I have provided above can also be shortened once the students become familiar with the process. For example, after the activity has been done once or twice, the instructor can assign the song as homework. Then, in the next class, the teacher can go over the unfamiliar terms and proceed to the interpretation and gestures phase. It is also worth noting that it is not necessary to finish a whole song in one session if an instructor has limited time to do this activity. What is important is acquiring the terms in an enjoyable manner through movement and music. Practice and Review A highly effective way to make sure that the students learn the vocabulary in the songs and the gestures for the lyrics is to review the songs from time to time. This can be done at the beginning of class as a warm-up, or it can be done as a brain booster during class (Randolph, 2019). Reviewing the songs also reinforces the students’ confidence and internalizes what they have learned at deeper levels of understanding. And ultimately, it also helps embody the language and create a concrete knowledge of the terms. Concluding Remarks At the beginning of this article, I suggested that personalizing the material, making it of interest, and eliciting the emotions and senses will create a fun and successful learning environment. The fact that movement and music are the highlighted elements of this activity helps the students use their bodies and minds to internalize the vocabulary. This use of the body is a natural and powerful tool because it fosters a very robust method of forging strong neural connections, and thus strengthening the memory of the words with their corresponding actions. This activity of movement and music will also help students become more aware of the different ways that they can acquire vocabulary on their own and create similar activities to build their personal lexicon throughout their lives as language learners and self-inspired teachers. References Budson, A.E. (2020, October). Why is music good for the brain? Harvard Health Publishing. Retrieved from https://www.health.harvard.edu/blog/why-is-music-good-for-the-brain-2020100721062 Hippocrates. (1931). Regimen (W. H. S. Jones, Trans.). Harvard University Press. (Original worked published 380 BCE) Jensen, E. (2008). Brain-based learning: The new paradigm of teaching. Thousand Oaks, CA: Corwin. Levitin, D. J. (2007). This is your brain on music: The science of a human obsession. New York; NY. Plume. McPherron, P., & Randolph, P. T. (2014). Cat got your tongue?: Recent research and classroom practices for teaching idioms to English learners around the world. Alexandria, VA: TESOL Press. Medina, J. (2014). Brain rules: 12 principles for surviving and thriving at work, home and school. Seattle, WA: Pear Press. Plato. (1985). The republic. (R.W. Sterling & W.C. Scott, Trans.). New York, NY: W.W. Norton. (Original work published 375 BC.) Ratey, J.J., & Hagerman, E. (2010). Spark! How exercise will improve the performance of your brain. London, England: Quercus. Randolph, P. T. (2019). Heightened awareness, attention, and focus with brain boosters. College ESL Quarterly, fall issue, 1-11. Randolph, P. T. (2020). 13 neuroscience-based tips for teaching vocabulary: PART 1: Tips 1-8. College ESL Quarterly, summer issue, 1-10. Schmidt-Kassow, M., Deusser, M., Thiel, C., Otterbein, S., Montag, C., Reuter, M., Banzen, W., & Kaiser, J. (2013). Physical exercise during encoding improves vocabulary learning in young female adults: A neuroendocrinological study. PlusOne, doi: 10.1371/journal.pone. 0064172 Willis, J. (2006). Research-based strategies to ignite student learning: Insights from a neurologist and classroom teacher. Alexandria, VA: Association for Supervision and Curriculum Development. Zabriskie, H.A., & Heath, E.M. (2019). Effectiveness of studying when coupled with exercise-induced arousal. International Journal of Exercise Science, 12(5), 979-988. Patrick T. Randolph specializes in vocabulary acquisition, creative and academic writing, speech, and debate. Patrick was awarded the “Best of TESOL Affiliates” in 2018 for his 2016 presentation on plagiarism. He has also received two “Best of CoTESOL Awards” for his 2017 and 2018 presentations on observation journals and creative writing. Recently, Patrick received the “Best Session Award” from MinneTESOL (2019-2021) and consequently another “Best of TESOL Affiliates,” and he has published New Ways in Teaching with Creative Writing with Joseph Ruppert. Patrick lives with his wife, Gamze; daughter, Aylene; cat, Gable; and puppy, Bubbles in Lincoln, Nebraska, USA. Image by www.pixabay.com
Spring 2021 - Spring 2021