INSTRUCTIONAL

MEDIA

Valery Hernández Canul

High I
2012-2013
We thank Sister Antoinette Markiewicz
For her valuable cooperation
 AUDIO-VISUAL AIDS

An effective audio-visual aid is one which achieves the psychological effect of helping
the student to relate what he hears with what he sees; the results are those which will enable the
student to better understand, retain, and become more proficient in the use of the language he is
learning.

The visual aids may be:

a) To teacher and the students themselves and any action they perform in the classroom.
b) Realia: real objects.
c) Software and hardware: wall charts, flip charts. flannel boards, posters, maps, cut-outs,
pictures, photographs. textbook illustrations, flash cards, slides, films, videos, filmstrips,
projectors, TV, VCRs. etc.

The audio aids may be:

a) Hardware and software: records, tapes, record players, CDs, tape recorders. etc,
b) Musical Instruments.

ADVANTAGES OF THE AUDIO VISUAL AIDS.

1. They help the teacher create situations that take place outside the classroom walls.
2. They help the teacher introduce the students to unfamiliar cultural aspects.
3. They help the teacher give reality to what might be misunderstood verbally by the
students.
4. They help the teacher change situations quickly and easily.
5. They always capture the attention of the students

USES OF THE AUDIO-VISUAL AIDS.

1. To aid in presenting structural or lexical meaning.
2. To establish a contextual framework for language practice.
3. To provide cues for oral or written practice.
4. To provide prompts for further practice activities.
5. To aid in testing.
With practice, teachers can learn to produce much of their own material keeping in mind the
following considerations:

a) Drawings should be simple and as large as possible.

b) Anything meant to be read must be legible from the back of the classroom.
c) The aid should only contain relevant material; irrelevant material is acceptable only if it can
usefully be exploited.
d) The aid should not require the presentation of too much vocabulary words.
e) The situational context of the aid should be easily understandable without a lengthy
introduction by the teacher.
f) The aid should be culturally suitable for the age groups of the class for which it is
intended.
 VISUAL AIDS

Who was it that said "a picture is worth a thousand words"? You know, they were right! The use
of visual aids can greatly enhance your presentation and make clear to your audience your
teaching points or objectives.

We humans take more information in visually, even when we are reading something its processed
and stored as a visual thought in our minds.

However, be careful not to go overboard in designing your visual aids. The word "Overboard"
could mean "Overload" instead.

All too often, to save time or money on putting our visual aids together, we get carried away and
end-up overloading them with just too much information for our viewing audience to process. Only
realizing afterwards, that we did, in fact, cause our viewing audience to go into an immediate
"overload condition visually."

This visual overloading condition occurs when they are presented with just too much information
at any one given time. In almost all cases it actually does cause your viewers to become either a
little or completely confused at what you trying to show them with your visual aid, and that can
take away from your presentations' effectiveness.

Keep this in mind when developing your visual aids.

• Use readable fonts, and stay a way from the fancy stuff.
• Keep to one or two major points per visual aid, limit the use of sub-topics to a few phrases
per subject.

Remember to use the "KISS method" of :

"Keep it simple stupid"

 VISUAL AIDS IN TEACHING ENGLISH AS A SECOND
LANGUAGE
(THE ART OF TESOL. - Selected articles from the English Teaching Forum) Finocchiaro, Mary.

Research studies in second-language learning clearly indicate that the attitude,

motivation, and interest of the learner are factors of crucial importance in determining his
achievement. Poor initial motivation may develop from external factors such as school or parent
imposed language study that the student does not think of as important for himself Whatever the
reasons, it will be necessary for the teacher, to supply with necessary motivation and to
develop the enthusiasm students will need to learn the English language, Basic, too, in the
language teaching process, are the teacher's ability to plan learning activities and his ability to
give each student a feeling of success and achievement.

Our concern here is with various ways in which the classroom itself and certain kinds of
visual instructional material might be used more effectively to develop and su stain motivation,
yet to produce positive altitudes toward English and to teach or reinforce [language-learning
skills.

It is of extreme importance to emphasize the contribution that material aids can mate in
helping the students to communicate, that is, to understand, to speak, to read, and to write
English. These are the instructional aids that are always available:

The teacher herself

the students
The classroom.

The teacher, the students, and the classroom.

You can effectively use your hands, arms, face, and clothing in several ways. You can for
example:

1. Indicate the kind of pupil participation you would like at any particular moments by:
- Making an encircling gesture with both arms if the entire class is to respond or
repeat.
- Making a smaller encompassing gesture when a smaller group is, to repeat.
 - Raising your right arm with the palm turned away from you to elicit responses from
one side of the room

2. Signal the responses you desire (at beginning language-learning levels) by pointing to your
mouth when you want the student to "say" or to "repeat"; or by cupping your hand behind your
ear when you would like the students to "answer".
3. Use a downward intonation gesture: move your arm downward. Follow the same
procedure with an upward movement to indicate rising intonation.
4. Demonstrate the relationship between the tongue and the teeth in producing sounds.
5. Show, by the shape of your mouth (rounded or stretched) the position of you jaw (lowered
or raised) or the placement of your tongue, how to produce the desired sound or sound
sequences.
6. Tap out with your fingers or with a pencil the stressed part of two--or three—syllable words
and the rhythm of utterances or sentences.
7. Point to yourself items of clothing, or things you may be carrying, in teaching language
patterns. ranging from This is a suit to I'm writing on the blackboard now.

You should adopt a standardized set of gestures and make sure your students
understand them thoroughly. Hand signals for example, not only clarify directions or the position
of vocal organs for pronunciation but also permit an immediate response by the: lass without
any intervening and possibly distracting requests from the teacher.
 THE NEGLECTED TOOLS CAN WORK FOR YOU!
( THE ART OF TESOL)
Ramírez, Mac.

Of all the resources and techniques available to the classroom teacher of English as a
second language, none are more neglected than audio-visual aids. Properly planned.
constructed. and employed, such aids can help not only to improve the overall language
program but also to enhance the classroom atmosphere and to ensure greater student
participation.

The psychology of the visual aid,

The learner of a second language has many obstacles to overcome. Not only must he
cope with different sounds and types of utterances, he must also learn lo think and respond in
the new language \without recourse to his mother tongue. This can be a monumental task.

The language student, photographs and stores lucid life images and words—which
must be provided for him by his teacher. Needless to say, images, because of their
vividness, are easier to recall than words. As far as life situations; when this is not
possible, the visual aid can serve as a substitute.

For the strengthening of learning by visual aids these should be available to all
students. We all want to give our students all the assistance we can provide; The starting
point.

Each school can effectively begin its drive to increase the impact* of its audio -visual
aids program by appointing a Visual Aids Committee to evaluate the existing program of the
school.

For committee at work.

Team number one. - Makes a list of all materials (visual aids) currently at the school
and come up with recommendations for additions to help improve the amount and quality of
such aids.
Team number two. - Has to assemble all books and printed materials used at the
school.
 Three days later, the committee held a. second meeting at which tune the two teams
submitted their reports. Then the school authorities will decide which recommendations are
to be approved.

What the visual aids should be.

1. The visual aids should be directly relevant to a specific teaching objective and should be
identified by the lesson with which it is to be used.
2. The visual aid should be a convincing representation of the actual objects.
3. The visual aid should be of suitable size for teaching.
4. There should be provision for storage or protection when visual aids are not
in use.
5. The visual aids should be simple, graphic. and easy to use or manipulate.
 COMMON VISUAL AIDS

From "Getting the Most out of Your AIDS/HIV Trainings"

East Bay AIDS Education Training Center
Revised from 1989 addition by Pat McCarthy, RN, MSN, 1992

Posters

ADVANTAGES:
- easy and inexpensive to make and update
- portable and transportable
- left in view of the audience
- good for interaction with the audience
DISADVANTAGES:
- unsuitable for large groups
- anxiety-provoking for facilitator with poor handwriting or poor spelling
Slides
ADVANTAGES:
- professional in appearance
- good for large groups
DISADVANTAGES:
- formal and impersonal
- shown in the dark
- not good for discussion and interaction
- more difficult to update than other visual aids
- require special equipment
VIDEOS

ADVANTAGES:
- professional in appearance
- good for large or small groups
DISADVANTAGES:
- more expansive than other visual aids
- requires special equipment
- not good for discussion and interaction
- require accurate cueing

OVERHEAD TRANSPARENCIES

ADVANTAGES:
- good for large gropus
- easy to create
- easy to transport
- provide an informal atmosphere
 - open to interaction with groups
- easy to update
DISADVANTAGES:
- impermanent; they yellow with age
- require less common equipment

COMPUTER PROJECTIONS

ADVANTAGES:
- professional in appearance
- evidence of preparation
- good for large or small group
- easy to integrate with classroom discussion
- animated
- up-to-date technology
- easy to update
DISADVANTAGES:
- require special equipment/facilities
- require initial training to create
- require significant time to create
- require basic graphics/composition skills
REALIA
ADVANTAGES:
- real-world/authentic
- three dimensional
- sometimes inexpensive and readily available
- experience may be tactile/auditory as well as visual
DISADANTAGES:
- sometimes difficult or impossible to acquire
- often difficult to handle or distribute
- require storage space
- usually out of natural environment
 GUIDELINES FOR GOOD VISUAL AIDS
Susan Campbell, Kimberley Donnelly, Steve Kerby and Joel Burkholder

Content

o Think about what information to use. Be selective.

o Organize the material into its main points.
o Put text or graphics on a visual aid to enhance what you say in your presentation
and to help guide the audience through your major points.

Continuity

o All slides, transparencies, posters, or Web pages in one presentation must have
the same graphic elements (e.g., font, color scheme, and background art).
o Changing design or style during a presentation causes a jarring effect upon the
viewers.

Text size

o Readability is the key.

o Letters should be hugee. Make type 26, 36 or even 48 point type.

Text font

o Use one font per visual aid.

o Use a plain, easy to read font. Helvetica, Univers, & Arial are recommended.
o Software programs provide many fonts, but very few of them are readable on a
visual aid. Don’t use them just because they are available!
o Sans serif fonts (those wihtout the little lines at the end of the letters) are generally
easier to read on visual aids.

Text style

o Use italic type for titles of complete works only.

o Never underline text. On Web pages, text hyperlinks are automatically underlined,
so underlining any other text causes confusion.
o Avoid using all CAPS. You are not screaming at your audience.
 o Use boldface type or a different color type or to indicate emphasis.

Amount of text on one visual aid

o Fewer than 25 words per visual aid

o The rule of thumb is 4 to 6 lines of text per visual aid.
o Use 4 to 6 words per line.
o The text must be large enough to read from the back of the room.
o Avoid putting so much information on your visual aid that your audience is busy
reading your poster or transparency and not listening to you speak.
o Maintain wide margins. Text or graphics very close to the bottom of the visual aid
may not be visable from the back of the room.

Graphics, colors and animations

o Contrast is vital. Use dark text on a light background or vice versa.

o Choose colors that coordinate and compliment each other.
o Add appropriate background texture or design.
o Do not use more than 2 graphics on one visual aid.
o Make sure graphics and colors are appropriate to the topic.
o If using animation make sure it is appropriate. Too much animation is distracting
and diminish the effectiveness of the presentation..

Proofreading and editing

o Make bulleted text parallel in structure (e.g., all bullets start with verbs or all bullets
are subject-verb).
o Be consistent with verb tenses (e.g., all in present or all in past).
o Use consistent punctuation.
o Double-check data.
CRITERIA FOR JUDGING THE EFFECTIVENESS OF COMMENTS

1. Cost
2. Does it need electricity?
3. Is it suitable for use in large classes?
4. Portability, convenience e.g. some aids are difficult
5. Or impossible to carry around and take a lot of time to set up.
6. Static— changeable — e.g. once you have drawn a flash
card. Unless you've made a movable one. You can't change it.
7. Laborious to prepare.
8. Dramatic impact and interest (although most aids will lose this impact if overused,
anyway.)
9. Sophistication- beware of over sophisticated equipment unless you are proficient in
using it.
10. What can it be used for?
11. Is the use limited or versatile?
 EVALUATION SHEET FOR MULTI-MEDIA
SELF-EVALUATION

1. poor 2. fair 3. good 4. excellent

Mark the number.

1. Order of presentation. 1 2. 3 4
k*
2. Use of media. 1 2 3 4
3 Introduction. 1 2 3 4
4. Presentation and Development. 1 2 3 4
5. Voice. 1 2 3 4
6. Attitude toward students. 1 2 3 4
7. Students' attitude toward T. 1 2 3 4
8. Teacher's enthusiasm. 1 2 3 4
9. Posture. 1 2 3 4
10 Fluency 1 2 3 4
SUGGESTIONS FOR IMPROVEMENT
 PUBLIC SPEAKING

Know the needs of your audience and match your contents to their needs. Know your material
thoroughly. Put what you have to say in a logical sequence. Ensure your speech will be
captivating to your audience as well as worth their time and attention. Practice and rehearse your
speech at home or where you can be at ease and comfortable, in front of a mirror, your family,
friends or colleagues. Use a tape-recorder and listen to yourself. Videotape your presentation and
analyze it. Know what your strong and weak points are. Emphasize your strong points during your
presentation.

When you are presenting in front of an audience, you are performing as an actor is on stage. How
you are being perceived is very important. Dress appropriately for the occasion. Be solemn if your
topic is serious. Present the desired image to your audience. Look pleasant, enthusiastic,
confident, proud, but not arrogant. Remain calm. Appear relaxed, even if you feel nervous. Speak
slowly, enunciate clearly, and show appropriate emotion and feeling relating to your topic.
Establish rapport with your audience. Speak to the person farthest away from you to ensure your
voice is loud enough to project to the back of the room. Vary the tone of your voice and dramatize
if necessary. If a microphone is available, adjust and adapt your voice accordingly.

Body language is important. Standing, walking or moving about with appropriate hand gesture or
facial expression is preferred to sitting down or standing still with head down and reading from a
prepared speech. Use audio-visual aids or props for enhancement if appropriate and necessary.
Master the use of presentation software such as PowerPoint well before your presentation. Do not
over-dazzle your audience with excessive use of animation, sound clips, or gaudy colors which
are inappropriate for your topic. Do not torture your audience by putting a lengthy document in
tiny print on an overhead and reading it out to them.

Speak with conviction as if you really believe in what you are saying. Persuade your audience
effectively. The material you present orally should have the same ingredients as that which are
required for a written research paper, i.e. a logical progression from INTRODUCTION (Thesis
statement) to BODY (strong supporting arguments, accurate and up-to-date information) to
CONCLUSION (re-state thesis, summary, and logical conclusion).

Do not read from notes for any extended length of time although it is quite acceptable to glance at
your notes infrequently. Speak loudly and clearly. Sound confident. Do not mumble. If you made
an error, correct it, and continue. No need to make excuses or apologize profusely.
Maintain sincere eye contact with your audience. Use the 3-second method, e.g. look straight into
the eyes of a person in the audience for 3 seconds at a time. Have direct eye contact with a
number of people in the audience, and every now and then glance at the whole audience while
speaking. Use your eye contact to make everyone in your audience feel involved.

Speak to your audience, listen to their questions, respond to their reactions, adjust and adapt. If
what you have prepared is obviously not getting across to your audience, change your strategy
mid-stream if you are well prepared to do so. Remember that communication is the key to a
successful presentation. If you are short of time, know what can be safely left out. If you have
extra time, know what could be effectively added. Always be prepared for the unexpected.

Pause. Allow yourself and your audience a little time to reflect and think. Don't race through your
presentation and leave your audience, as well as yourself, feeling out of breath.

Add humor whenever appropriate and possible. Keep audience interested throughout your entire
presentation. Remember that an interesting speech makes time fly, but a boring speech is always
too long to endure even if the presentation time is the same.

When using audio-visual aids to enhance your presentation, be sure all necessary equipment is
set up and in good working order prior to the presentation. If possible, have an emergency backup
system readily available. Check out the location ahead of time to ensure seating arrangements
for audience, whiteboard, blackboard, lighting, location of projection screen, sound system, etc.
are suitable for your presentation.

Have handouts ready and give them out at the appropriate time. Tell audience ahead of time that
you will be giving out an outline of your presentation so that they will not waste time taking
unnecessary notes during your presentation.

Know when to STOP talking. Use a timer or the microwave oven clock to time your presentation
when preparing it at home. Just as you don't use unnecessary words in your written paper, you
don't bore your audience with repetitious or unnecessary words in your oral presentation. To end
your presentation, summarize your main points in the same way as you normally do in the
CONCLUSION of a written paper. Remember, however, that there is a difference between
spoken words appropriate for the ear and formally written words intended for reading. Terminate
your presentation with an interesting remark or an appropriate punch line. Leave your listeners
with a positive impression and a sense of completion. Do not belabor your closing remarks. Thank
your audience and sit down.

Have the written portion of your assignment or report ready for your instructor if required.
 STICK FIGURES

A stick figure is a very primitive type of drawing. In a stick figure, the head is represented by a
circle. The neck, arms, legs and torso are all represented by single straight lines. Generally, stick
figures are drawn by hand with a pen or pencil and have hard defined edges. Though not
displaying very much detail, what is drawn is generally required.

Stick figures have proven effective as a source of advertising, entertainment, and as a form of
sotryboarding and practice for filmwork. This is especially for creating "animatics”.
 LETTERING

/. Legibility Standards:
1. Select a readable letter style.
2. Use capital letters for short titles but for longer captions and phrases (six
words
or more) use lowercase letters with appropriate capitals.
3. Space letters optically. Equal measured distances between all letters do not
look
equal.
a. Make spaces look equal, regardless of measurement.
4. Allow space between words and between sentences.
5. Separate lines within a caption.

//. Nine letter techniques:

1. Boldface typewriter lettering.

2. Three-dimensional lettering.
3. Construction-paper letters.
4. Gummed-back paper cutout letters.
5. Dry transfer leners.
6. Felt-pen lettering.
7. Stencil lettering guides.
8. Lettering guides.
9. Photocomposing-machine lettering.

///. Backgrounds for titles:

Select backgrounds that are appropriate to the treatment of the subject in
color and design and that do not distract the attention from the title or detract from
its effect.

IV. Some recommetidations,

1. Keep the lettering simple.
2. Be sure that it is legible.
 FLASH CARDS

Flash cards are cards with pictures, which have a variety of uses in a language class.

Sizes may vary according to the picture or text shown, or they depend on the size of
the class

Flash cards may be:

a) connected situational or a series of mini situations or

vocabulary items
b) Arranged chronologically ( as in a story)
c) Double-sized
d) Surprise

Advantages

1. If they are carefully prepared and selected, they provide a framework of strict
control.
2. They offer a more precise focus than a wall picture, as they are usually displayed
one at a time.
3. The teacher can prepare them at her leisure time at home. In this way, they can be
made more attractive and colorful and can include details impossible to include in a
quickly drawn blackboard picture.
4. They cut down greatly on time and they provide variety
5. They are usually colorful and attract the attention of the students

Recommendations

1. Use at least five, one at a time, or two at a time to show contrast

2. They should be uniform in size
3. Plasticize them
4. Move around the classroom, to be sure everyone can see them.
5. Check that all students are looking at the flash cards and not at something else
6. Check that all flash cards are facing the same way
7. Try to make them as colorful as possible.
Suggested way of use

1. Flash cards are suitable for pictorial presentation of single concepts, for
example, of actions or of objects.
2. For revision of known language and for combination of substitution work.
3. Cards are useful for relation words and pictures.
4. To teach action words, verb tenses, etc
5. To teach mass and countable nouns
6. For contrast of meaning: opposites, singular and plural, etc

Suggestions for making flash cards

1. As it was mentioned before, size will vary depending of the size of the group
and also on the pictures to be represented
2. Use a piece of cardboard and cut all the flash cards the same size.
3. Cut one corner, so that you are always sure that the flash cards are all facing
the same way.
4. You may draw the objects and scenes or you may use cut-outs.
5. Try to make the pictures as big as possible.
6. Contact paper will serve as a protection for the flash cards.
 SUGGESTIONS FOR MAKING MAGAZINE CUT-OUTS:

1. Cut a picture from any magazine, brochure, pamphlets, etc.

2. Paste the cut-out on a piece of cardboard.
3. Cut-outs must be large.
4. Protect with mica or contact paper.

POSTERS

A poster is a pictorial design, usually symbolic in nature which makes its

point in capsule form. There are two types of posters:

1. Commercially made: a) billboards

b) advertising

2. Educational posters: a) teachers-made

b) student-made

c) commercially-made

Characteristics:

1. Message can be learned in a few seconds.

2. The eyes are attracted to poster and notes its main feature.
3. Words in caption are legible and easily understood.
4. The design in the poster is closely related to its ability to communicate
the intended message.
5. They are attention-getters.

Requisites for a good poster:

 1. Aimed at one purpose.
2. Forceful and clear in treatment.
3. Never leave the viewer in doubt the message.
4. Colorful (vivid and bold colors draw attention and focus it or the topic.
5. Large enough to be seen.
6. Designed for quick impression rather than careful study.
7. Simplicity of the message.

Do´s and Don´t´s in using posters:

1. Discard or edit posters containing objectionable advertising.

2. Do not leave posters on display after they have served their purposes.
3. Most posters have only occasional or temporary use, put them away
after working with them.

WALL CHARTS

There are two models of wall charts. Both have definite uses in the language
classroom.

One type depicts a situation or topic and includes several people or actions
such as birthday party, a beach scene, a picnic, a popular event, a sports event,
etc. This context- oriented chart is useful in:

a. Introducing dialogues, practicing structural patterns.

b. Stimulating oral and reading composition.
c. Making students speak and actually use the language they are
learning.
 The other kind fits into the drill of a particular grammatical point. In this case,
the grammatical point is first determined. The pictures are chosen to be suitable
for drilling that grammatical pattern. This kind of picture depicts:

a) One kind of action.

b) One function people.

c) Related objects.

Advantages:

1. They have great advantages for oral practice.

2. They keep attention of a whole class together on the same stimulus.
Whereas individual pictures in the student's book tend to scatter the
attention of the class.
3. Charts can be used repeatedly in full daylight, while other aids require
electric connections, darkening of rooms, special equipment, etc.
4. They can be planned and prepared ahead.
5. They are available for future use.
6. They can be colorful and attractive.
7. They can be ambiguous and can provide a reasonable facsimile of
reality.
8. They are easy for using them any time.
9. They remove focus from the teacher.

Recommendations:

1. The pictures should be as simple as possible.

2. A caption, title, or brief description for you use on the back of the picture
is helpful.
3. They should be appropriate for the stage of practice.
4. They should provide clear, correct models.
5. They should provide sufficient number of examples.
6. They should be clearly visible.
 7. They should be large enough for everybody to see.

Suggested way of use:

1. Charts can be used for listening comprehension, games, and for

presenting structures.
2. They can also be used for picture composition.

FIFTEEN STEPS TO ACHIEVE MOTIVATION

1. Use only positive approaches to situations. Avoid negative opinions or

statements. Eliminate direct or indirect putdown specially self putdowns.
2. Review all written material to eliminate negative connotations and
perceptions. Use positive approaches or suggestions.
3. Make good use of complimentary comments both written and spoken.
Recognize work that is well done.
4. Use the media to recognize outstanding achievements.
5. Remember to recognize holidays, birthdays and condolences situations.
6. Get to know the families of your students. Use their names as often as
you can.
7. Make good use of slogans, quotes and newspapers articles that can be
good to inspire and reinforce positive attitude.
8. Use group situations to reinforce or improve the self-esteem of students.
Example: speaking in front of the class.
9. Make every effort to be physically present at significant events, such as
games, plays and award presentations.
10. Spent time with each student in an uninterrupted listening and caring
conference.
11. Try to give a sincere compliment to each student twice a week. Keep a
record to be sure.
12. Permit students to accept responsibility and to receive credit for a job
well done. Trust your students.
13. Smile and maintain a good sense of humor. Humor and laughter provide
stress-free class.
 14. Expect the best of your students and yourself. Students will perform the
way you expect them to perform. Never give up on them or on yourself.
15. Work diligently at maintaining your own positive attitude and self-esteem.
You are an important role model.

TIPS FOR GOOD BULLETIN BOARDS

i. CHASING, CAPTURING AND TAMING EVE IDEAS

How do you go about finding bulletin boards ideas? It’s simple. Just open
your eyes!
Ideas are everywhere. You’re probably standing in the midst of two or
three right now. You don’t have to borrow an idea form the teacher down
the hall. She may have discovered hers in your room!

II. FIRST CONSIDERATIONS

• Define your objective: Decide what your bulletin board is going to

do. Is it stimulates interest? To teach? To give recognition? The
design, the color and materials needed depend on your objective.
• Determine the maturity of its prime viewer: younger children area
pleased with simplicity whereas older ones need more sophisticated
color and want ideas that are challenging.
• Anaylyze the situation. An old fussy room may need boards
stressing simplicity. New interiors can be divided into areas of
common interest.
• Room colors must be taken into account when selecting the
appropriate color combination used in crating a display.
• Change is basic to continuing interest. Overdue bulletin boards pay
no educational dividends
• Captions can add or detract. Don’t say too much. Let the gig picture
carry the message

III. Color brightness up your room

Use color to : set the mood of the room

Tie your room together
Add to the interest of the room
Direct attention to a particular spot
 Create a feeling of warmth, colorless, activity or
quietness

Color has a few, if any, absolutes rules

Select colors that you like to live with, add at times, let
the children choose their favorite colors and combinations
Results are generally best when not more than three or
four colors are selected
Balance and effect of warm and cool colors depend on
which colors predeominate
Take into consideration basic colors of walls, ceilings, floors and furniture
When strong, contrasting colors are used excessively, the effect is over
stimulating
Experiment with darker and lighter values of the colors you have
tentatively selected, before making your final choice
Also experiment with the amount of each color selected, as well as with the
value

HOLIDAYS

Use your bulletin board to

• Explain the origin or significance of special occasions

• Learn about the music, games and customs of everywhere

• Understand how we honor God and express spriritual feelings

• Develop an interest in literature, folklore and legends

• Emphasize the loyalty we have to our nation, its history, its heroes
and what stand for it

• Create an atmosphere appropriate to the season and its observances

• Motivate highly original and purposeful art activities

BORDERS

Borders can be used to

[Link] a bulletin board together
[Link] a mood or motif
[Link] boundaries
[Link] difficult space problems
[Link] continuity

Don’t let your border

[Link] the subject
[Link] in design or color with
[Link] master plan of your display
[Link] monotonous

DISPLAYS

When making displays remember

• To use student-make decorations

• To avoid stereotyped cut-outs

• To choose a color scheme appropriate to the season or theme

• To permit children take part in putting together the bulletin board

• To keep the idea simple and direct

• That a good reproduction can be supported by several less

professional products or student effort.

• That captions when used should be brief

• That abstract symbols have little meaning to young children

• That figures can help personalize the message

• That third-dimension gives added interested to otherwise average

ideas

LETTERING GOLDEN RULES

1. Letters are worthless unless they are readable (legibility=

2. Select a color or style that interprets the feeling of your ideas

3. Placement of lettering is an integral part of the basic design

 4. Exaggerated lettering used with restrain and imagination can give
zest of the bulletin board

5. Contrasting styles of lettering can be combined if value, size, or

color is properly subordinated.

6. Use your eye, rather than a ruler, to determine the correct spacing
between letters and words ( optical spacing)

7. Elaborate letters seldom justify the efforts that production requires

8. It’s not a crime to use commercial letters in order to save teacher’s or

student’s time

INVOLVE THE CHILDREN

Let the children share in the fun of planning, preparing, arranging and
contributing to the bulletin board. Creating displays is a skill that children
can learn and one which gives recognition to their efforts. It also helps
them learn how to work together.

Young children can make individual items that the teacher will include in
the general plan. Older children can work as teams in planning major
portions of the boards or in determining how to arrange the parts.

With a minimum of a teacher’s help, experienced students can do the whole

job. When you find yourself running out of new ideas, replenish them form
the children’s reserve.

BULLETIN BOARDS PAY OFF

Every bulletin board can

• Teach anything

• Give recognition to achievement

• Enhance the room’s appearance

• Develop deeper understanding

• Stimulate new interests

• Reflect the personality of the teacher and her class

REMEMBER
Bulletin board ideas are endless. Every idea may be displayed in a dozen of
different ways. For the amount of time, effort and planning that goes into it,
the bulletin board pays good dividends.
 ART RECIPES

CLAY

• 1 c. flour
• ½ c. salt
• 2 tsp. cream of tartar
• 1c. water
• 1 tsp. oil
• Food coloring

Cook over low heat until mixture comes away from the pan. Knead until [Link]
food coloring. Keep in plastic bag when not in use.

PLAY DOUGH

• 2 c. salt
• 2/3 c. water

Place over medium heat. Stir constantly for 3 or 4 minutes.

Prepare:
• 1 c. cornstarch
• ½ of cold water

Mix this together until smooth. Mixture will be very thick. Add the cornstarch mixture
to the salt one. Heat until thick ( about one minute). Color with food coloring.

PASTE

• ½ c water
• ½ flour
• 2 c. water
• ½ tsp alum
• 15 drops clove oil

Mix all ingredients well excepting the clove oiul. Cook over low heat, stirring
constantly until mixtures becomes very thick. Add clove oil. Pour into jars. Keep into 3
or 4 months.

FINGER PAINT

• 1 ½ qts boiling water

• 2 c . starch mixed with 1. c cold water
Add starch mixture to boiling water. Boil well. Add 1 c. soap flakes. Stir well. Color
with food coloring. Use cold.

Sawdust modeling.

• 2 c. sawdust
• 1.c flour
• 1 tsp glue
• Liquid starch ( or hot water)

Moisten sawdust, flour and glue with starch ( or water) until easy to handel. Shape into
desired figures. Dry. After completely dry, paint.

Baker’s clay

• 4 c. flour
• 1 c. salt
• 1 ½ c. water

Combine flour and salt. Add water all at once. Stir until dry ingredients are moistened
and hold together in a ball.
Knead the dough until it has a velvety mixture ( at least 8 minutes) Rollout ¼ in , thick.
Cut figures as desired. Use cookie cutters. Place in a 150 c. oven 30 or 40 minutes or
until edges begin to brown. Cool. Decorate as desired.

Note: Dough must be used within 5 hours. As you work, unused dough should be
placed in a plastic bag to retard drying.

Soap Bubbles

• ¼ c. concentrated liquid soap

• 1 ½ tsp. sugar
• 9 tsp cooking oil
• Few drops food coloring
• 1 ¾ qts water.

Put all the above ingredients in a tightly closed jar. Shake well until sugar dissolves.
Use bubble straws.

SOAP CRAYONS

1 c Soap flakes
Food colouring
2 tb Hot water

1. Have one large bowl and several small bowls, one for each color. You will also
need an ice cube tray with different sections, or containers to act as small molds.
 2. Put soap flakes in a large bowl and drop the hot water into the soap flakes,
stirring constantly. The mixture will be extremely thick and hard to stir.
3. Spoon some of the soap into each of the small bowls and color each separately,
adding the color by drops until the soap has the consistency of a very thick
paste.
4. Press spoonfuls of the soap into your molds and set the crayons in a dry place to
harden. They should take a few days to a week to dry completely.
5. When dry, remove from the molds and allow to dry for a few more days before
using.

Notes:

Makes around 20 crayons.

PAPEL MACHE PASTE

1 cup water
1/4 cup flour
5 cups lightly boiling water

1. Mix the flour into 1 cup water until the mixture is thin and runny.
2. Stir this mixture into the lightly boiling water.
3. Gently boil and stir for 2 to 3 minutes.
4. Cool before using.
 EDUCATIONAL GAMES

BUILDING WORDS

INSTRUCTIONS:

Certain subjects are written on the top of the chart. As

indicated, the students try to write as many words as possible. In
this indicated time, the student that has the most correct answers
wins.

Animals Names Places

G Goat George Germany

A Ant Alice Alaska

DARTS
INSTRUCTIONS:

Divide the group into two teams. The first student throws a
bean bag to the chart. He must answer within 10 seconds the list
of vocabulary corresponding to the number on the dial.
Example: List number 1. Days of the week
List number 2. Seasons of the year
List number 3. Months of the year etc.

BASEBALL
INSTRUCTIONS:
 Divide the group into two teams. Two students go to the
board to mark the score. Teacher gives spelling words to the
group to be written on the blackboard. Baseball can be played in
two ways: either the team loses when they make the first out or
when they make three outs. They will score after four correct
answers. Move a child on the bases as words are spelled correctly.

IDENTYFYING
INSTRUCTIONS:

Divide the class into two teams. The teacher gives a certain subject
(sports. Family, etc.). Student will have to give five names entering in that
subject within 10 seconds. If the student playing is unable to answer, the next
child in the team may answer for him. The team finishing first wins.

SPORTS COLOR FAMILY

Baseball Red Mother
Tennis Brown Father
Volleyball White Sister
Swimming Blue Brother
Running Orange Aunt
OTHER TOPICS:

Animal, clothing, cars, countries, toys, school supplies, people,

transportation, cities, books, weather, seasons, places, flowers, etc.

ELEPHANT’S TAIL
INSTRUCTIONS:

The purpose if this game is to put the elephant’s tail in its place. Blindfold
a child while he is trying to place the tail on the elephant. Unblind him to
answer. Students give words having the consonant blends indicated. If the child
pins the tail in the correct place, he gets 10 extra points and if he gives a word
using the blend he gets 20 extra points. (the “wr” consonant blend is a difficult
one.)

ACTIONARIES
INSTRUCTIONS:

The teacher shows a card with a magazine cut-out. Students try to give as
many
Verbs as they can find related to the picture they’re looking at.

For example: A card with a cat.

Run, eat, scratch, drink, play, smell, sleep, etc.

CHALLENGE
INSTRUCTIONS:

Teacher flashes a card with a word written on it. Students have to write as
many antonyms or synonyms that they can remember. The student that writes
the most correct word wins.
NEWSPAPER
INSTRUCTIONS:

Teacher gives students a page from the newspaper. As indicated, students

circle either 10 nouns, pronouns, verbs, etc. Student who has them in the
allotted time raises his hand. The student who detects a mistake may read his
words. If all his words are correct, he wins.

WORD BUILDING
INSTRUCTIONS:
Ask each child to form words from a word that is given to them. They can’t
substitute letters or put some more. From one word they can change the letter
position as they want in order to form as many words as possible. The child
that finishes first and has the most words, wins.

Mystery my, try, term, yes, yet, etc.

Island is, and, land, ad, as, all, etc.

STRING OF WORDS
INSTRUCTIONS:

The teacher gives a word. Then the next student has to form another word
beginning with the last letter of the word that the teacher gives, and so on.

Jar
 Ring

Garden

Narrow

West

Tail

Lamp

Paddle

Economy, etc.

WORD ADDITION
INSTRUCTIONS:

Students are expected to fill the spaces with a word that has more or less
the same letters as above or he may substitute one letter to form a new word.

PAN NOT HOME

Span hot come
Plan pot dome
Fab dot Rome

RHYMING
INSTRUCTIONS:

Students are expected to form words from the suffixes, prefixes, diphthongs,
or minimal pairs that are given.
ING ICK UTE
Sing pick cute
Ring stick mute
Bring thick flute

TIC TAC TOE

INSTRUCTIONS:

The teacher dictates some spelling words. The student that has fewer
mistakes has the chance to be the first to put either a cat or a dog on the chart.
The team that completes a line first, wins. The line may be vertical, horizontal,
or diagonal.

Constructing sentences
Instructions:

Divide the group into two teams. Wordcards are displayed on the slotboard. One
girl has to construct well-formed sentences. Teacher counts how many sentences were
formed in one minute. Then the teacher puts away the words and display new ones.
Now there´s a chance for the other team. The team that forms more correct sentences,
wins.

Articles
Instructions:
 The teacher brings a copy. For each row, of an article which contains run-on
sentences. The first girl of each row has to correct the first sentence, the second girl
corrects the second sentence, and so on. Each girl has one minute to correct her
sentence, and nobody in the row can help her. When the paragraph is finished, teacher
corrects it. The row with no mistakes, wins.

If I were…
Instructions:

When teaching if clauses, play this game. Divide the class into two
teams. One girl from each team passes to the blackboard. Teacher reads the
first part of an if clause. Each girl has to write the second part of it. The first
student who finished and without mistakes, wins.

Descriptions
Instructions:

Teacher gives a sentence containing one noun. The student has to add
an adjective that describes the noun. Then she forms sentences containing that
adjective. Teacher counts five minutes, and then she checks who makes the
best sentence using that adjective.

Giant steps
Instructions:

A child from each row stands at the back of the room. Teacher says a
sentence and asks to change it into present perfect tense. The first student has
to answer and also to spell the verb she is using. If they answer correctly, the
girl at the back can walk one big step. The first one to get to the blackboard,
wins.
IF YOU FELL LIKE SINGING
( FORUM- Osman Alice, McConochie, Jan)

TEN TIMELY TIPS FOR TEACHING WITH SONGS

1 If you are shy “ can’t sing a note”, unsure of your musical talents, use
recordings.
Have students prepare a record selection and present it to the class, having
students who play instruments perform for the class.
Use a simple rhythm instrument such as a tambourine for accompaniment- or
both you and your students can play homemade rhythm and instruments- and
RELAX

2. Help students build their confidence in their ability to decode the new
language. Allow them to use their intuitions when analyzing new song lyrics in
terms of context, vocabulary, pronunciation, inflection and syntax. Interfere only
when absolutely necessary.
3Always introduce a song as a whole. Play or sing it through several items.
Encourage students to respond by tapping, clapping or by responding in any
way they might enjoy. The natural sequences is to learn a tune before the
words, so allow time for this.

4. After the students have a feeling of the entire song, you may want to break
the song wonwn in order to explain lines or words that may be unclear.
Whenever possible, examine the lyrics in sentence units.
5. Don’t let song practice seem like work. Keep it brief, never tedious. Keep it
spontaneous. Never force a student to sing.
6. Try different styles- folk, rock, calypso, rap. And important to remember: ask
students what they like.
7. Try dividing the group into sections for two part songs such as question-
answer, and the other dialog songs. Try using a different student to be the
leader for each group. This is a good way to take off the focus from the teacher.
8. Have students pantomime some of the actions in the songs. This assists less
adept students in their comprehension.
9. Try writing original words to an existing son. Students can do this as an
individual project, or you may wish to work with the groups as a class project.
10. Songs are frequently used as follow –up activitity after a new structure has
been introduced. However, on occasion, you might want also to try playing or
singeing a new song without any explanations. This would serve as a good
motivation for a lesson that deals with a new structure or vocabulary.
POEMS

Most of the time, teachers find it easier to start with poetry rather than with stories or
songs. Children start becoming familiar with poetry and literature through nursery
rhymes. It is important that the teacher recites the rhymes, going at the same time
through motions and gestures, first by herself and then along with the student. These
motions and gestures are of extreme importance in the process of learning and
memorizing a rhyme. Teacher can explain the meaning of a rhyme by using gestures
and specific movements. In this way, the children will enjoy reciting the rhyme, but not
only that, they will also understand it very well.
 ALICE THE CAMEL BAA, BAA, BLACK SHEEP
Baa, baa, black sheep,
Have you any wool?
Alice the camel has five humps. Yes sir, yes sir,
Alice the camel has five humps. Three bags full.
Alice the camel has five humps.
So ride, Alice, ride. One for the master,
Boom, boom, boom, boom! One for the dame,
And one for the little boy
Alice the camel has four humps. Who lives down the lane.
Alice the camel has four humps.
Alice the camel has four humps. Baa, baa, black sheep,
So ride, Alice, ride. Have you any wool?
Boom, boom, boom, boom! Yes sir, yes sir,
Three bags full.
Alice the camel has three humps.
Alice the camel has three humps. One to mend the jerseys
Alice the camel has three humps. one to mend the socks
So ride, Alice, ride. and one to mend the holes in
Boom, boom, boom, boom! the little girls' frocks.

Alice the camel has two humps. Baa, baa, black sheep,
Alice the camel has two humps. Have you any wool?
Alice the camel has two humps.
So ride, Alice, ride. Yes sir, yes sir,
Boom, boom, boom, boom! Three bags full.

Alice the camel has one hump.

Alice the camel has one hump.
Alice the camel has one hump.
So ride, Alice, ride.
Boom, boom, boom, boom!

Alice the camel has no humps.

Alice the camel has no humps.
Alice the camel has no humps.
'Cause Alice is a horse, of course.
DOWN BY THE STATION HE FARMER IN THE DELL

Down by the station The farmer in the dell

Early in the morning The farmer in the dell
See the little pufferbellies Hi-ho,The derry-o
All in a row The farmer in the dell

The farmer takes a wife

See the station master The farmer takes a wife
Turn the little handle Hi-ho,The derry-o
Puff, puff, toot, toot The farmer takes a wife
Off we go!
The wife takes a child
Down by the station The wife takes a child
Early in the morning Hi-ho,The derry-o
See the little pufferbellies The wife takes a child
All in a row
The child takes a nurse
See the station master The child takes a nurse
Hi-ho,The derry-o
Turn the little handle The child takes a nurse
Puff, puff, toot, toot
Off we go! The nurse takes a cow
The nurse takes a cow
Hi-ho,The derry-o
The nurse takes a cow

The cow takes a dog

The cow takes a dog
Hi-ho,The derry-o
The cow takes a dog

The dog takes a cat

The dog takes a cat
Hi-ho,The derry-o
The dog takes a cat

The cat takes a rat

The cat takes a rat
Hi-ho,The derry-o
The cat takes a rat

The rat takes the cheese

The rat takes the cheese
Hi-ho,The derry-o
The rat takes the cheese

The cheese stands alone

The cheese stands alone
Hi-ho,The derry-o
The cheese stands alone
 LONDON BRIDGE Here’s a prisoner I have got,
My fair lady!

London Bridge is falling down, What's the prisoner done to you,

Falling down, falling down. Done to you, done to you?
London Bridge is falling down, What’s the prisoner done to you,
My fair lady! My fair lady!

Build it up with iron bars, Stole my watch and broke my chain,

Iron bars, iron bars. Broke my chain, broke my chain.
Build it up with iron bars, Stole my watch and broke my chain,
My fair lady! My fair lady!

Iron bars will bend and break, What'll you take to set him free,
Bend and break, bend and break. Set him free, set him free?
Iron bars will bend and break, What’ll you take to set him free,
My fair lady! My fair lady!

Build it up with needles and pins, One hundred pounds will set him free,
Needles and pins, needles and pins. Set him free, set him free.
Build it up with needles and pins, One hundred pounds will set him free,
My fair lady! My fair lady!

Pins and needles rust and bend, One hundred pounds we have not got,
Rust and bend, rust and bend. Have not got, have not got.
Pins and needles rust and bend, One hundred pounds we have not got,
My fair lady! My fair lady!

Build it up with penny loaves, Then off to prison he must go,

Penny loaves, penny loaves. He must go, he must go.
Build it up with penny loaves, Then off to prison he must go,
My fair lady! My fair lady

Penny loaves will tumble down,

Tumble down, tumble down.
Penny loaves will tumble down,
My fair lady!

Build it up with silver and gold,

Silver and gold, silver and gold.
Build it up with silver and gold,
My fair lady!

Gold and silver I’ve not got,

I’ve not got, I’ve not got.
Gold and silver I’ve not got,
My fair lady!

Here's a prisoner I have got,

I have got, I have got.
 THE WHEELS OF THE BUS

The wheels on the bus go round and round,

round and round,
round and round.
The wheels on the bus go round and round,
all through the town.

The wipers on the bus go Swish, swish, swish;

Swish, swish, swish;
Swish, swish, swish.
The wipers on the bus go Swish, swish, swish,
all through the town.

The horn on the bus goes Beep, beep, beep;

Beep, beep, beep;
Beep, beep, beep.
The horn on the bus goes Beep, beep, beep,
all through the town..

The money on the bus goes, Clink, clink, clink;

Clink, clink, clink;
Clink, clink, clink.
The money on the bus goes, Clink, clink, clink,
all through the town.

The Driver on the bus says "Move on back,

move on back, move on back;"
The Driver on the bus says "Move on back",
all through the town.

The baby on the bus says "Wah, wah, wah;

Wah, wah, wah;
Wah, wah, wah".
The baby on the bus says "Wah, wah, wah",
all through the town.

The mommy on the bus says "Shush, shush, shush;

Shush, shush, shush;
Shush, shush, shush."
The mommy on the bus says "Shush, shush, shush"
all through the town.
 YANKEE DOODLE

Yankee Doodle went to town

A-riding on a pony
Stuck a feather in his hat
And called it macaroni.

Yankee Doodle, keep it up

Yankee Doodle dandy
Mind the music and the step
And with the girls be handy.

Father and I went down to camp

Along with Captain Gooding
And there we saw the men and boys
As thick as hasty pudding.

Yankee Doodle, keep it up

Yankee Doodle dandy
Mind the music and the step
And with the girls be handy

There was Captain Washington

Upon a slapping stallion
A-giving orders to his men
I guess there was a million.

Yankee Doodle, keep it up

Yankee Doodle dandy
Mind the music and the step
And with the girls be handy
 YOU ARE MY SUNSHINE You make me happy
When skies are grey.
You'll never know, dear,
You Are My Sunshine How much I love you.
My only sunshine. Please don't take my sunshine away.
You make me happy
When skies are grey. Louisiana my Louisiana
You'll never know, dear, the place where I was borne.
How much I love you. White fields of cotton
Please don't take my sunshine away -- green fields clover,
the best fishing
The other nite, dear, and long tall corn;
As I lay sleeping
I dreamed I held you in my arms. You are my sunshine,
When I awoke, dear, My only sunshine.
I was mistaken You make me happy
And I hung my head and cried. When skies are grey.
You'll never know, dear,
You are my sunshine, How much I love you.
My only sunshine. Please don't take my sunshine away.
You make me happy Crawfish gumbo and jambalaya
When skies are grey. the biggest shrimp and sugar cane,
You'll never know, dear, the finest oysters
How much I love you. and sweet strawberries
Please don't take my sunshine away. from Toledo Bend to New Orleans;

I'll always love you You are my sunshine,

And make you happy My only sunshine.
If you will only say the same You make me happy
But if you leave me When skies are grey.
To love another You'll never know, dear,
You'll regret it all some day; How much I love you.
Please don't take my sunshine away.
You are my sunshine,
My only sunshine.
You make me happy
When skies are grey.
You'll never know, dear,
How much I love you.
Please don't take my sunshine away.

You told me once, dear

You really loved me
And no one else could come between
But now you've left me
And love another
You have shattered all my dreams;

You are my sunshine,

My only sunshine.
 DO RE MI

Let's start at the very beginning

A very good place to start
When you read you begin with
A-B-C
When you sing you begin with do-re-mi

Do-re-mi
Do-re-mi
The first three notes just happen to be
Do-re-mi
Do-re-mi

Do-re-mi-fa-so-la-ti

Oh, let's see if I can make it easier

Doe, a deer, a female deer

Ray, a drop of golden sun
Me, a name I call myself
Far, a long long way to run
Sew, a needle pulling thread
La, a note to follow sew
Tea, I drink with jam and bread
That will bring us back to do...oh oh oh

Doe, a deer, a female deer

Ray, a drop of golden sun
Me, a name I call myself
Far, a long long way to run
Sew, a needle pulling thread
La, a note to follow sew
Tea, I drink with jam and bread
That will bring us back to Do

Doe, a deer, a female deer

Ray, a drop of golden sun
Me, a name I call myself
Far, a long long way to run
Sew, a needle pulling thread
La, a note to follow sew
Tea, I drink with jam and bread
That will bring us back to do

Do re mi fa so la ti do, so do
 CLEMENTINE You are lost and gone forever
Dreadful sorry, Clementine

In a cavern, in a canyon There’s a churchyard on the hillside

Excavating for a mine Where the flowers grow and twine
Lived a miner forty-niner There grow roses, ‘mongst the posies
And his daughter, Clementine Fertilized by Clementine

Oh, my darling, oh, my darling Oh, my darling, oh, my darling

Oh, my darling Clementine Oh, my darling Clementine
You are lost and gone forever You are lost and gone forever
Dreadful sorry, Clementine Dreadful sorry, Clementine

Light she was and like a fairy In my dreams she still doth haunt me
And her shoes were number nine Robed in garlands soaked in brine
Herring boxes without topses Though in life I used to hug her
Sandals were for Clementine Now she’s dead, I draw the line

Oh, my darling, oh, my darling Oh, my darling, oh, my darling

Oh, my darling Clementine Oh, my darling Clementine
You are lost and gone forever You are lost and gone forever
Dreadful sorry, Clementine Dreadful sorry, Clementine

Drove her ducklings to the water Now you scouts may learn the moral
Every morning just at nine Of this little tale of mine
Hit her foot against a splinter Artificial respiration
Fell into the foaming brine Would have saved my Clementine

Oh, my darling, oh, my darling Oh, my darling, oh, my darling

Oh, my darling Clementine Oh, my darling Clementine
You are lost and gone forever You are lost and gone forever
Dreadful sorry, Clementine Dreadful sorry, Clementine

Ruby lips above the water How I missed her, how I missed her
Blowing bubbles soft and fine How I missed my Clementine
But alas, I was no swimmer Till I kissed her little sister
So I lost my Clementine And forgot my Clementine

Oh, my darling, oh, my darlin fe7 g Oh, my darling, oh, my darling

Oh, my darling Clementine Oh, my darling Clementine
You are lost and gone forever You are lost and gone forever
Dreadful sorry, Clementine Dreadful sorry, Clementine

Then the miner, forty-niner

Soon began to peak and pine
Thought he oughta join his daughter
Now he’s with his Clementine

Oh, my darling, oh, my darling

Oh, my darling Clementine
 LOOBY LOO

Here we go looby loo

Here we go looby light
Here we go looby loo
All on a Saturday night

You put your right hand in

You take your right hand out
You give your hand a shake, shake, shake
And turn yourself about

Here we go looby loo

Here we go looby light
Here we go looby loo
All on a Saturday night

You put your left foot in

You take your left foot out
You give your foot a shake, shake, shake
And turn yourself about

Here we go looby loo

Here we go looby light
Here we go looby loo
All on a Saturday night

You put your right hip in

You take your right hip out
You give your right hip a shake, shake, shake
And turn yourself about

Here we go looby loo

Here we go looby light
Here we go looby loo
All on a Saturday night

You put your whole self in

You take your whole self out
You give yourself a shake, shake, shake
And turn yourself about
JOHN JACOB JINGLEHEIMER SCHMIDT

John Jacob Jingleheimer Schmidt

His name is my name, too!
Whenever we go out,
The people always shout
There goes John Jacob Jingleheimer Schmidt!
Da da da da da da da

Sing the verse as many times as you like..each time you sing the verse sing a little
more quiet and then shout at "There goes John Jacob Jingleheimer Schmidt

PRETTY LITTLE DUTCH GIRL

I am a pretty little Dutch girl

As pretty as I can be
And all the boys
In the neighborhood
Are crazy over me.

My boyfriend’s name is Mello,

He comes from the land of Jello,
With pickles for his toes
And a cherry for his nose
And that’s the way my story goes.

TEN LITTLE INDIANS

One little, two little, three little Indians.

Four little, five little, six little inidans

Seven little, eight little, nine little Indians

Ten little Indians booooys!

A-TISKET, A-TASKET

A-tisket a-tasket
A green and yellow basket
I wrote a letter to my love
And on the way I dropped it

I dropped it, I dropped it

And on the way I dropped it
A little boy (girl) picked it up
And put it in his (her) pocket
 CANNIBAL KING

The Cannibal King with the big nose ring

Fell in love with the dusting maid
And every night by the pale moonlight
It sounded like this to me...

Ah-rump (kiss kiss), Ah-rump (kiss kiss)

Ah-rump, Ditty-aye-dee-a-a-a
Ah-rump (kiss kiss), Ah-rump (kiss kiss)
Ah-rump, Ditty-aye-dee-a-a-a

As the years went by like one, two, three

Soon there was a family
And every night by the pale moonlight
It sounded like this to me...

Ah-rump ma-ma, Ah-rump, ma-ma

Ah-rump, Ditty-aye-dee-a-a-a
Ah-rump ma-ma, Ah-rump, ma-ma
Ah-rump, Ditty-aye-dee-a-a-a

As the years went by like one, two, three

Soon there was a family.
And every night by the pale moonlight
It sounded like this to me...

Ah-rump gran-ma, Ah-rump gran-ma

Ah-rump, Ditty-aye-dee-a-a-a
Ah-rump gran-ma, Ah-rump gran-ma
Ah-rump, Ditty-aye-dee-a-a-a

As the years went by like one, two, three

Soon there was no family
And every night by the pale moonlight
It sounded like this to me...

Ah-rump (silent pause), Ah-rump (silent pause)

Ah-rump, Ditty-aye-dee-a-a-a
Ah-rump (silent pause), Ah-rump (silent pause)
Ah-rump, Ditty-aye-dee-a-a-a
 FIVE LITTLE MONKEYS EENSY WEENSY SPIDER

Five little monkeys jumping on the The eensy weensy spider

bed Crawled up the water spout
One fell off and bumped his head ('Climb' up arm)
So Momma called the doctor and the Down came the rain
doctor said (Wiggle fingers down from head to
No more monkeys jumping on the waist)
bed! And washed the spider out
(Throw arms to sides)
Four little monkeys jumping on the Out came the sun and dried up all the
bed rain
One fell off and bumped his head (Raise hands above head, make circle
So Momma called the doctor and the for sun)
doctor said And the eensy weensy spider
No more monkeys jumping on the Crawled up the spout again.
bed! ('Climb' up arm again

Three little monkeys jumping on the

bed
One fell off and bumped his head
So Momma called the doctor and the
doctor said
No more monkeys jumping on the
bed!

Two little monkeys jumping on the

bed
One fell off and bumped his head
So Momma called the doctor and the
doctor said
No more monkeys jumping on the
bed!

One little monkey jumping on the

bed
He fell off and bumped his head
So Momma called the doctor and the
doctor said
No more monkeys jumping on the
bed!

No little monkeys jumping on the

bed
None fell off and bumped his head
So Momma called the doctor and the
doctor said
Put those monkeys back in bed!
 IF YOU'RE HAPPY AND YOU KNOW IT

If you're happy and you know it, clap your hands (clap clap)
If you're happy and you know it, clap your hands (clap clap)
If you're happy and you know it, then your face will surely show it
If you're happy and you know it, clap your hands. (clap clap)

If you're happy and you know it, stomp your feet (stomp stomp)
If you're happy and you know it, stomp your feet (stomp stomp)
If you're happy and you know it, then your face will surely show it
If you're happy and you know it, stomp your feet. (stomp stomp)

If you're happy and you know it, shout "Hurray!" (hoo-ray!)

If you're happy and you know it, shout "Hurray!" (hoo-ray!)
If you're happy and you know it, then your face will surely show it
If you're happy and you know it, shout "Hurray!" (hoo-ray!)

If you're happy and you know it, do all three (clap-clap, stomp-stomp, hoo-ray!)
If you're happy and you know it, do all three (clap-clap, stomp-stomp, hoo-ray!)
If you're happy and you know it, then your face will surely show it
If you're happy and you know it, do all three. (clap-clap, stomp-stomp, hoo-ray!)

HEAD AND SHOULDERS

Head, Shoulders, Knees and Toes,

Knees and Toes
Head, Shoulders, Knees and Toes,
Knees and Toes

eyes and Ears and Mouth and Nose

Head, Shoulders, Knees and Toes

HEY DIDDLE DIDDLE

Hey diddle diddle,

The cat and the fiddle,
The cow jumped over the moon,
The little dog laughed to see such sport,
And the dish ran away with the spoon
HE'S GOT THE WHOLE WORLD IN HIS HANDS

He's got the whole world in His hands,

He's got the whole world in His hands,
He's got the whole world in His hands,
He's got the whole world in His hands.

He's got my brothers and my sisters in His hands,

He's got my brothers and my sisters in His hands,
He's got my brothers and my sisters in His hands,
He's got the whole world in His hands.

He's got the sun and the rain in His hands,

He's got the moon and the stars in His hands,
He's got the wind and the clouds in His hands,
He's got the whole world in His hands.

He's got the rivers and the mountains in His hands,

He's got the oceans and the seas in His hands,
He's got you and he's got me in His hands,
He's got the whole world in His hands.

He's got everybody here in His hands,

He's got everybody there in His hands,
He's got everybody everywhere in His hands,
He's ac6 got the whole world in His hands.
 HOKEY POKEY You put your nose in,
You put your nose out;
You put your right foot in, You put your nose in,
You put your right foot out; And you shake it all about.
You put your right foot in, You do the Hokey-Pokey,
And you shake it all about. And you turn yourself around.
You do the Hokey-Pokey, That's what it's all about!
And you turn yourself around.
That's what it's all about! You put your backside in,
You put your backside out;
You put your left foot in, You put your backside in,
You put your left foot out; And you shake it all about.
You put your left foot in, You do the Hokey-Pokey,
And you shake it all about. And you turn yourself around.
You do the Hokey-Pokey, That's what it's all about!
And you turn yourself around.
That's what it's all about! You put your head in,
You put your head out;
You put your right hand in, You put your head in,
You put your right hand out; And you shake it all about.
You put your right hand in, You do the Hokey-Pokey,
And you shake it all about. And you turn yourself around.
You do the Hokey-Pokey, That's what it's all about!
And you turn yourself around.
That's what it's all about! You put your whole self in,
You put your whole self out;
You put your left hand in, You put your whole self in,
You put your left hand out; And you shake it all about.
You put your left hand in, You do the Hokey-Pokey,
And you shake it all about. And you turn yourself around.
You do the Hokey-Pokey, That's what it's all about
And you turn yourself around.
That's what it's all about!

You put your right side in,

You put your right side out;
You put your right side in,
And you shake it all about.
You do the Hokey-Pokey,
And you turn yourself around.
That's what it's all about!

You put your left side in,

You put your left side out;
You put your left side in,
And you shake it all about.
You do the Hokey-Pokey,
And you turn yourself around.
That's what it's all about!
 HUMPTY DUMPTY SHOO FLY

Humpty dumpty sat on a wall Shoo, fly, don't bother me,

Humpty dumpty had a great fall Shoo, fly, don't bother me,
All the King's horses Shoo, fly, don't bother me,
And all the King's men For I belong to somebody.
Couldn't put Humpty together again
I feel, I feel,
I feel like a morning star,
I feel, I feel,
I feel like a morning star. Shoo, fly,
ROW ROW YOUR BOAT don't bother me,
Shoo, fly, don't bother me,
Shoo, fly, don't bother me,
Row, row, row your boat For I belong to somebody.
Gently down the stream.
Merrily, merrily, merrily, merrily, I feel, I feel,
Life is but a dream. I feel like a morning star,
I feel, I feel,
I feel like a morning star.

MICHAEL FINNEGAN BUZZY BEE

There was an old man named Buzzy, buzzy, buzzy bee,

Michael Finnegan Buzzing round from tree to tree.
He had whiskers on his chinnegan Buzzy, buzzy, buzzy bee,
They fell out and then grew in again Don't you dare to buzz near me!
Poor old Michael Finnegan
Begin again. Buzzy, buzzy, buzzy bee,
Buzzing right in front of me,
There was an old man named Buzzy, buzzy, buzzy bee,
Michael Finnegan You don't listen well, I see!
He went fishing with a pinnegan
Caught a fish and dropped it in again
Poor old Michael Finnegan
Begin again. TWINKLE, TWINKLE LITTLE
STAR
There was an old man named
Michael Finnegan Twinkle, twinkle, little star,
He grew fat and then grew thin again How I wonder what you are.
Then he died and had to begin again Up above the world so high,
Poor old Michael Finnegan Like a diamond in the sky.
Begin again. Twinkle, twinkle, little star,
How I wonder what you are!
 OLD MACDONALD
MISTER SUN

Oh Mister Sun, Sun, Old MacDonald had a farm,

Mister Golden Sun, Ee i ee i oh!
Please shine down on me And on his farm he had some chicks,
Ee i ee i oh!
Oh Mister Sun, Sun, With a cluck-cluck here,
Mister Golden Sun, And a cluck-cluck there
Hiding behind a tree... Here a cluck, there a cluck,
Everywhere a cluck-cluck
These little children Old MacDonald had a farm
Are asking you Ee i ee i oh!
To please come out
So we can play with you Old MacDonald had a farm,
Ee i ee i oh!
Oh Mister Sun, Sun, And on his farm he had some cows,
Mister Golden Sun, Ee i ee i oh!
Please shine down on me! With a moo-moo here,
And a moo-moo there
Oh Mister Sun, Sun, Here a moo, there a moo,
Mister Golden Sun, Everywhere a moo-moo
Please shine down on me Old MacDonald had a farm,
Ee i ee i oh!
Oh Mister Sun, Sun,
Mister Golden Sun, Old MacDonald had a farm,
Hiding behind a tree... Ee i ee i oh!
And on his farm he had some pigs,
These little children Ee i ee i oh!
Are asking you With an oink-oink here,
To please come out And an oink-oink there
So we can play with you Here an oink, there an oink,
Everywhere an oink-oink
Oh Mister Sun, Sun, Old MacDonald had a farm
Mister Golden Sun, Ee i ee i oh!
Please shine down on...
Please shine down on...
Please shine down on me!
 OH SUSANNA

I come from Alabama

With my banjo on my knee
I'm going to Louisiana,
My true love for to see

It rained all night

The day I left
The weather it was dry
The sun so hot,
I froze to death
Susanna, don't you cry

Oh, Susanna,
Oh don't you cry for me
For I come from Alabama
With my banjo on my knee

I had a dream the other night

When everything was still
I thought I saw Susanna
A-coming down the hill

The buckwheat cake

Was in her mouth
The tear was
In her eye
Says I, I'm coming from the south
Susanna, don't you cry

Oh, Susanna,
Oh don't you cry for me
For I come from Alabama
With my banjo on my knee
 THIS OLD MAN
This old man, he played nine
This old man, he played one He played knick-knack on my spine
He played knick-knack on my thumb [some versions use "line" here]
[some versions use "drum"] With a knick-knack paddywhack, give a
With a knick-knack paddywhack, dog a bone
give a dog a bone This old man came rolling home
This old man came rolling home
This old man, he played ten
This old man, he played two He played knick-knack once ag'n [some
He played knick-knack on my shoe versions use "on my hen" here]
With a knick-knack paddywhack, With a knick-knack paddywhack, give a
give a dog a bone dog a bone
This old man came rolling home This old man came rolling home

This old man, he played three

He played knick-knack on my knee
With a knick-knack paddywhack,
give a dog a bone
This old man came rolling home

This old man, he played four

He played knick-knack on my door
With a knick-knack paddywhack,
give a dog a bone
This old man came rolling home

This old man, he played five

He played knick-knack on my hive
With a knick-knack paddywhack,
give a dog a bone This old man came
rolling home

This old man, he played six

He played knick-knack on my sticks
With a knick-knack paddywhack,
give a dog a bone
This old man came rolling home

This old man, he played seven

He played knick-knack up in heaven
With a knick-knack paddywhack,
give a dog a bone
This old man came rolling home

This old man, he played eight

He played knick-knack on my gate
With a knick-knack paddywhack,
give a dog a bone
This old man came rolling home
 THREE BLIND MICE BUZZY, BUZZY, BUZZY BEE

Three blind mice, Buzzy, buzzy, buzzy bee,

Three blind mice Buzzing round from tree to tree.
See how they run, Buzzy, buzzy, buzzy bee,
See how they run! Don't you dare to buzz near me!

They all ran after Buzzy, buzzy, buzzy bee,

The farmer's wife Buzzing right in front of me,
She cut off their tails Buzzy, buzzy, buzzy bee,
With a carving knife You don't listen well, I see!
Did you ever see
Such a sight in your life
As three blind mice?

FATHER ABRAHAM
BINGO
Father Abraham has many songs,
There was a man
Many sons have father Abraham
Who had a dog
I am one, and so are you
And B-I-N-G- O was his name
So let’s all pray the lord
And B-I-N-G- O was his name
1. Right hand
B-I-N-G-O, B-I-N-G-O, B-I-N-G- O 2. Left hand
and 3. Right foot
4. left foot
B-I-N-G-O was his name

RAIN, RAIN, GO AWAY

FROGGY
Dog
Rain, rain go away
Dog Cat
Dog Cat Mouse
Come again another day
Froggie
Itsy bitsy teenie weenie little froggie
Rain, rain, go away
Jump jump jump jump little froggie
Eating all the itty bitty worms and
Little Betty wants to play
spiders
Fleas and flies scrumdiddlyicious
Ribbit ribbit ribbit ribbit ribbit ribbit
ribbit croak
Repeat
Slow. Then fast
THE ANTS GO MARCHING

The ants go marching one by one, hurrah, hurrah

The ants go marching one by one, hurrah, hurrah
The ants go marching one by one,
The little one stops to suck his thumb
And they all go marching down to the ground
To get out of the rain, BOOM! BOOM! BOOM!

The ants go marching two by two, hurrah, hurrah

The ants go marching two by two, hurrah, hurrah
The ants go marching two by two,
The little one stops to tie his shoe
And they all go marching down to the ground
To get out of the rain, BOOM! BOOM! BOOM!

The ants go marching three by three, hurrah, hurrah

The ants go marching three by three, hurrah, hurrah
The ants go marching three by three,
The little one stops to climb a tree
And they all go marching down to the ground
To get out of the rain, BOOM! BOOM! BOOM!

The ants go marching four by four, hurrah, hurrah

The ants go marching four by four, hurrah, hurrah
The ants go marching four by four,
The little one stops to shut the door
And they all go marching down to the ground
To get out of the rain, BOOM! BOOM! BOOM!

The ants go marching five by five, hurrah, hurrah

The ants go marching five by five, hurrah, hurrah
The ants go marching five by five,
The little one stops to take a dive
And they all go marching down to the ground
To get out of the rain, BOOM! BOOM! BOOM!

The ants go marching six by six, hurrah, hurrah

The ants go marching six by six, hurrah, hurrah
The ants go marching six by six,
The little one stops to pick up sticks
And they all go marching down to the ground
To get out of the rain, BOOM! BOOM! BOOM!

The ants go marching seven by seven, hurrah, hurrah

The ants go marching seven by seven, hurrah, hurrah
The ants go marching seven by seven,
The little one stops to pray to heaven
And they all go marching down to the ground
To get out of the rain, BOOM! BOOM! BOOM!
The ants go marching eight by eight, hurrah, hurrah
The ants go marching eight by eight, hurrah, hurrah
The ants go marching eight by eight,
The little one stops to shut the gate
And they all go marching down to the ground
To get out of the rain, BOOM! BOOM! BOOM!

The ants go marching nine by nine, hurrah, hurrah

The ants go marching nine by nine, hurrah, hurrah
The ants go marching nine by nine,
The little one stops to check the time
And they all go marching down to the ground
To get out of the rain, BOOM! BOOM! BOOM!

The ants go marching ten by ten, hurrah, hurrah

The ants go marching ten by ten, hurrah, hurrah
The ants go marching ten by ten,
The little one stops to say "THE END"
And they all go marching down to the ground
To get out of the rain, BOOM! BOOM! BOOM!
 DORA SINA THE DUCK

My name is Dora SIna The duck

I come form the land of Banana The duck with one wing

I have pimples on my nose The duck with two wings

And tickles on my toes The duck with one foot

My name is Dora Sina The duck with two feet

The duck with its tail

I like to wash the dishes Quara, quara,quara, quara

I like to clean the floor Quack!

I like to kiss my boyfriend

Behind the kitchen’s door

SHARE HANDS

Shake hands, shake hands

Shake hands, shake hands

And friends will come to you

Shake hands, shake hands

Shake hands, shake hands

A smile will help you, too

 BOA CONSTRICTOR

I’m being swallowed by a

boa constrictor,
I’m being swallowed by a
boa constrictor,
I’m being swallowed by a
boa constrictor,
And I don’t like it very much.

Oh no, he swallowed by toe.

Oh gee, he’s up to my knee.

Oh fiddle, he’s up to my middle,

Oh heck, he’s up to my neck.

Oh dread, he swallowed my (slurp-swallow)

BOOM CHICKA BOOM

I said a boom chicka boom (echo)

I said a boom chicka boom (echo)
Isaid a boom chicka Rocka chicka Rocka chicka boom (echo)
Oh yeah (echo)
Uh huh (echo)
One more time (echo)
___________ style (echo)

Different styles: Loud, Whisper, Southern, Valley Girl, Opera, Attitude, British,
Rocket, Harley, Janitorial, Teacher.

CLOUDS

A cloud is fluffy

A cloud is soft

A cloud is soft as a month

 PRINCESS PAT
The Princess Pat (Egyptian style)
Lived in a Tree (hands out in front of you; go up and down)
She Sailed across (ocean motion)
The seven seas (hold up 7 fingers; make a c with you hand)
She sailed across (ocean motion)
The channel two (draw a box with fingers and then hold up 2 fingers)
and she took with her (both hands over shoulder like holding a bag)
Arrigabamboo (shake hands/arms all the way down)

Arrigabamboo (shake hands/arms all the way down)

Now What is that? (shrug)
It's something made (bang hands together)
by the Princess Pat (Egyptian style)
It's red and gold (Twirl hand around like you're waving a string at your waist)
And puple too (bring your voice up. Hands folded up to cheek)
That's why it's called (Get loud; cup hands around mouth)
Arrigabamboo (shake hands/arms all the way down)

Now the Captin Jack (salute X 2)

Had a mighty fine crew (salute X 2)
He sailed across (ocean motion)
The channel two (draw a box with fingers and then hold up 2 fingers)
But his ship sank (Hold nose and sink down)
and yours will too (point finger and shake hand in scolding motion)
If you don't take (both hands over shoulder like holding a bag)
Arrigabamboo (shake hands/arms all the way down)

Arrigabamboo (shake hands/arms all the way down)

Now What is that? (shrug)
It's something made (bang hands together)
by the Princess Pat (Egyptian style)
It's red and gold (Twirl hand around like you're waving a string at your waist)
And puple too (bring your voice up. Hands folded up to cheek)
That's why it's called (Get loud; cup hands around mouth)
Arrigabamboo (shake hands/arms all the way down)
THE WISHY WASHY WASHER WOMAN

Way down in the valley where nobody goes

There’s a wishy washy washer woman washin’ her clothes
She goes (wash motions)
She goes (wash motions)
She goes (wash motions)
She goes (wash motions)
That’s how the wishy washy washer woman washes her clothes

Way down in the valley where nobody goes

There’s a wishy washy washer woman dryin’ her clothes
She goes (drying motions)
She goes (drying motions)
She goes (drying motions)
She goes (drying motions)
That’s how the wishy washy washer woman dries her clothes

Way down in the valley where nobody goes

There’s a wishy washy washer woman foldin’ her clothes
She goes (folding motions)
She goes (folding motions)
She goes (folding motions)
She goes (folding motions)
That’s how the wishy washy washer woman folds her clothes

…pickin’ her nose…

…eatin’ oreos…
…paintin’ her toes…
…puttin’ on pantyhose…
…sayin’ goodbye...

A DILLER, A DOLLAR

A diller, a dollar, a ten o’clock scholar,

What makes you come so soon?

You used to come at ten o’clock.

But now you come at noon

BABY SHARK

Baby shark
Do do do do
Baby shark
Do do do do
Baby shark
Do do do do
Baby shark

Mommy shark
Do do do do
Mommy shark
Do do do do
Mommy shark
Do do do do
Mommy shark

…daddy shark…
…grandma shark…
…going swimming…
…see a shark…
…swimming fast…
…lose a leg…
…lose the other leg…
…lose my head – Ahhhhh!

THUNDER

Thunder always seems to play

In a very noisy way

It is a playing bear?

In a misty den of air

Or a giant roaring sound that’s loud

Thinking it can scare a cloud?

Thunder shouts and rolls around

Making quiet a scary sound.

THE GREEN GRASS GROWS
[repeat after me]

Out in the field,

there is a hole
the prettiest little hole
that you ever did see
And there’s a tree in the hole and the hole’s in the ground
and the green grass grew all around all around, and the green grass grew all
around.

Now on this tree,

there was a branch
the prettiest little branch
that you ever did see!
And the branch is on the tree and the tree’s in the hole and the hole’s in the
ground
and the green grass grew all around all around, and the green grass grew all
around.

And on that branch,

there was a nest.
The prettiest little nest
that you ever did see
And the nest is on the branch and the branch is on the tree and the tree’s in
the hole and the hole’s in the ground
and the green grass grew all around all around, and the green grass grew all
around.

And in that nest

there was a bird
the prettiest little bird
that you ever did see!
And the bird is in the nest and the nest is on the branch and the branch is on
the tree and the tree’s in the hole and the hole’s in the ground
and the green grass grew all around all around, and the green grass grew all
around.

And on that bird,

there was a wing
the prettiest little wing
that you ever did see!
And the wing is on the bird and the bird is in the nest and the nest is on the
branch and the branch is on the tree and the tree’s in the hole and the hole’s
in the ground
and the green grass grew all around all around, and the green grass grew all
around.

And on that wing

there was a feather
the prettiest little feather
that you ever did see!
And the feather is on the wing and the wing is on the bird and the bird is in
the nest and the nest is on the branch and the branch is on the tree and the
tree’s in the hole and the hole’s in the ground
and the green grass grew all around all around, and the green grass grew all
around.

And on that feather

there was an ELEPHANT!
 TONGUE TWISTERS BETTY BOTTER

Peter Piper Betty Botter had some butter,

"But," she said, "this butter's bitter.
Peter Piper picked a peck of pickled If I bake this bitter butter,
peppers. it would make my batter bitter.
Did Peter Piper pick a peck of But a bit of better butter--
pickled peppers? that would make my batter better."
If Peter Piper picked a peck of
pickled peppers, So she bought a bit of butter,
where's the peck of pickled peppers better than her bitter butter,
Peter Piper picked? and she baked it in her batter,
and the batter was not bitter.
So 'twas better Betty Botter
bought a bit of better butter.
BITTER BITING

A bitter biting bittern

Bit a better brother bittern, SEA SHELLS
And the bitter better bittern
Bit the bitter biter back. She sells sea shells by the sea shore.
And the bitter bittern, bitten, The shells she sells are surely seashells.
By the better bitten bittern, So if she sells shells on the seashore,
Said: "I'm a bitter biter bit, alack!" I'm sure she sells seashore shells.

TUDOR

BEAR A Tudor who tooted a flute

tried to tutor two tooters to toot.
I cannot bear to see a bear Said the two to their tutor,
Bear down upon a hare. "Is it harder to toot
When bare of hair he strips the hare, or to tutor two tooters to toot?"
Right there I cry, "Forbear!
THE FLY

A flea and a fly flew up in a flue.

NEEDLES Said the flea, "Let us fly!"
Said the fly, "Let us flee!"
I need not your needles, they're So they flew through a flaw in the flue.
needless to me;
For kneading of noodles, 'twere WOODCHUCK
needless, you see;
But did my neat knickers but need to How much wood would a woodchuck
be kneed, chuck
I then should have need of your if a woodchuck could chuck wood?
needles indeed. He would chuck, he would, as much as
he could,
and chuck as much wood as a
woodchuck would
if a woodchuck could chuck wood.
 [Link]
Mr. See owned a saw.
And Mr. Soar owned a seesaw.
Now See's saw sawed Soar's seesaw
Before Soar saw See,
Which made Soar sore.
Had Soar seen See's saw
Before See sawed Soar's seesaw,
See's saw would not have sawed
Soar's seesaw.
So See's saw sawed Soar's seesaw.
But it was sad to see Soar so sore
Just because See's saw sawed
Soar's seesaw

Deck The Halls

Deck the halls with boughs of holly

Fa-la-la-la-la, la-la-la-la
'Tis the season to be jolly
Fa-la-la-la-la, la-la-la-la
Don we now our gay apparel
Fa-la-la, la-la-la, la-la-la.
Troll the ancient Yule-tide carol
Fa-la-la-la-la, la-la-la-la.

See the blazing Yule before us.

Fa-la-la-la-la, la-la-la-la
Strike the harp and join the chorus.
Fa-la-la-la-la, la-la-la-la
Follow me in merry measure.
Fa-la-la-la-la, la-la-la-la
While I tell of Yule-tide treasure.
Fa-la-la-la-la, la-la-la-la

Fast away the old year passes.

Fa-la-la-la-la, la-la-la-la
Hail the new year, lads and lasses
Fa-la-la-la-la, la-la-la-la
Sing we joyous, all together.
Fa-la-la-la-la, la-la-la-la
heedless of the wind and weather.
Fa-la-la-la-la, la-la-la-la
 Frosty The Snow Man

Frosty the snowman was a jolly happy soul,

With a corncob pipe and a button nose
and two eyes made out of coal.
Frosty the snowman is a fairy tale, they say,
He was made of snow but the children
know how he came to life one day.
There must have been some magic in that
old silk hat they found.
For when they placed it on his head
he began to dance around.
O, Frosty the snowman
was alive as he could be,
And the children say he could laugh
and play just the same as you and me.
Thumpetty thump thump,
thumpety thump thump,
Look at Frosty go.
Thumpetty thump thump,
thumpety thump thump,
Over the hills of snow.

Frosty the snowman knew

the sun was hot that day,
So he said, "Let's run and
we'll have some fun
now before I melt away."
Down to the village,
with a broomstick in his hand,
Running here and there all
around the square saying,
Catch me if you can.
He led them down the streets of town
right to the traffic cop.
And he only paused a moment when
he heard him holler "Stop!"
For Frosty the snow man
had to hurry on his way,
But he waved goodbye saying,
"Don't you cry,
I'll be back again some day."
Thumpetty thump thump,
thumpety thump thump,
Look at Frosty go.
Thumpetty thump thump,
thumpety thump thump,
Over the hills of snow
 Jingle Bells

Dashing through the snow

On a one-horse open sleigh,
Over the fields we go,
Laughing all the way;
Bells on bob-tail ring,
making spirits bright,
What fun it is to ride and sing
A sleighing song tonight, O

Jingle bells, jingle bells,

jingle all the way!
O what fun it is to ride
In a one-horse open sleigh (repeat)

A day or two ago,

I thought I'd take a ride,
And soon Miss Fanny Bright
Was seated by my side;
The horse was lean and lank;
Misfortune seemed his lot;
He got into a drifted bank,
And we, we got upsot.O

Jingle Bells, Jingle Bells,

Jingle all the way!
o What fun it is to ride
In a one-horse open sleigh. (repeat)

A day or two ago,

the story I must tell
I went out on the snow
And on my back I fell;
A gent was riding by
In a one-horse open sleigh,
He laughed as there
I sprawling lie,
But quickly drove away, O

Jingle Bells, Jingle Bells,

Jingle all the way!
o What fun it is to ride
In a one-horse open sleigh. (repeat)

Now the ground is white

Go it while you're young,
Take the girls tonight
And sing this sleighing song;
 Just get a bob-tailed bay
two-forty as his speed
Hitch him to an open sleigh
And crack! you'll take the lead, O

Jingle Bells, Jingle Bells,

Jingle all the way!
o What fun it is to ride
In a one-horse open sleigh.

Joy To The World

Joy to the world! The Lord is come:

Let earth receive her King.
Let ev'ry heart prepare Him room,
And heaven and nature sing,
And heaven and nature sing,
And heaven and heaven and nature sing.

He rules the world with truth and grace,

And makes the nations prove
The glories of His righteousness
And wonders of His love,
And wonders of His love,
And wonders, wonders of His love.
 Silent Night

Silent night! Holy night!

All is calm, all is bright,
Round yon Virgin Mother and Child.
Holy Infant, so tender and mild.
Sleep in heavenly peace,
Sleep in heavenly peace.

Silent night! Holy night!

Shepherds quake at the sight;
Glories stream from heaven afar,
Heavenly host sing, Alleluia,
Christ, the Savior is born!
Christ the Savior is born!

Silent night! Holy night!

Son of God, love's pure light,
Radiant beams from Thy holy face,
With the dawn of redeeming grace,
Jesus, Lord, at Thy birth,
Jesus, Lord at Thy birth.
 Silver Bells

Christmas makes you feel emotional

It may bring parties or thoughts devotional
Whatever happens or what may be,
Here is what Christmas time means to me.

City sidewalk, busy sidewalks

dressed in holiday style.
In the air there's
a feeling of Christmas.

Children laughing, people passing,

meeting smile after smile,
And on every street corner you'll hear:

Silver bells, silver bells,

It's Christmas time in the city.
Ring-a-ling, hear them ring,
soon it will be Christmas day.

City street lights,

even stop lights,
blink a bright red and green,
As the shoppers rush home
with their treasures.

Hear the snow crunch,

see the kids bunch,
This is Santa's big scene,
And above all this bustle you'll hear:

Silver bells, silver bells,

It's Christmas time in the city.
Ring-a-ling, hear them ring,
soon it will be Christmas day.
 Twelve Days Of Christmas

On the first day of Christmas

my true love sent to me:
A partridge in a pear tree.

On the second day of Christmas

my true love sent to me:
Two turtle doves
And a Partridge in a pear tree.

On the third day of Christmas

my true love sent to me:
Three French Hens,
Two turtle doves
And a Partridge in a pear tree.

On the fourth day of Christmas

my true love sent to me:
Four calling birds,
Three French Hens,
Two turtle doves
And a Partridge in a pear tree.

On the fifth day of Christmas

my true love sent to me:
Five golden rings,
Four calling birds,
Three French Hens,
Two turtle doves
And a Partridge in a pear tree.

On the sixth day of Christmas

my true love sent to me:
Six geese a laying,
Five golden rings,
Four calling birds,
Three French Hens,
Two turtle doves
And a Partridge in a pear tree.

On the seventh day of Christmas

my true love sent to me:
Seven swans a swimming,
Six geese a laying,
Five golden rings,
Four calling birds,
Three French Hens,
Two turtle doves
 And a Partridge in a pear tree.

On the eighth day of Christmas

my true love sent to me:
Eight maids a milking,
Seven swans a swimming,
Six geese a laying,
Five golden rings,
Four calling birds,
Three French Hens,
Two turtle doves
And a Partridge in a pear tree.

On the ninth day of Christmas

my true love sent to me:
Nine ladies dancing,
Eight maids a milking,
Seven swans a swimming,
Six geese a laying,
Five golden rings,
Four calling birds,
Three French Hens,
Two turtle doves
And a Partridge in a pear tree.

On the tenth day of Christmas

my true love sent to me:
Ten lords a leaping,
Nine ladies dancing,
Eight maids a milking,
Seven swans a swimming,
Six geese a laying,
Five golden rings,
Four calling birds,
Three French Hens,
Two turtle doves
And a Partridge in a pear tree.

On the eleventh day of Christmas

my true love sent to me:
Eleven pipers piping,
Ten lords a leaping,
Nine ladies dancing,
Eight maids a milking,
Seven swans a swimming,
Six geese a laying,
Five golden rings,
Four calling birds,
Three French Hens,
Two turtle doves
 And a Partridge in a pear tree.

On the twelfth day of Christmas

my true love sent to me:
Twelve drummers drumming,
Eleven pipers piping,
Ten lords a leaping,
Nine ladies dancing,
Eight maids a milking,
Seven swans a swimming,
Six geese a laying,
Five golden rings,
Four calling birds,
Three French Hens,
Two turtle doves

And a Partridge in a pear tree.

White Christmas

I'm dreaming of a white Christmas

Just like the ones I used to know
Where the treetops glisten
and children listen
To hear sleigh bells in the snow.

I'm dreaming of a white Christmas

With every Christmas card I write
May your days be merry and bright
And may all your Christmases be white.

I'm dreaming of a white Christmas

With every Christmas card I write
May your days be merry and bright

And may all your Christmases be white

We Wish You A Merry Christmas

We wish you a merry Christmas

We wish you a merry Christmas
We wish you a merry Christmas
And a happy New Year.
Glad tidings we bring
To you and your kin;
Glad tidings for Christmas
And a happy New Year!

We want some figgy pudding

We want some figgy pudding
We want some figgy pudding
Please bring it right here!
Glad tidings we bring
To you and your kin;
Glad tidings for Christmas
And a happy New Year!

We won't go until we get some

We won't go until we get some
We won't go until we get some
So bring it out here!
Glad tidings we bring
To you and your kin;
Glad tidings for Christmas
And a happy New Year!

We wish you a Merry Christmas

We wish you a Merry Christmas
We wish you a Merry Christmas
And a happy New Year.
Glad tidings we bring
To you and your kin;
Glad tidings for Christmas
And a happy New Year!
 [Link]

Mr. See owned a saw. SUSAN SHOES

And Mr. Soar owned a seesaw.
Now See's saw sawed Soar's Susan shineth shoes and socks;
seesaw socks and shoes shines Susan.
Before Soar saw See, She ceased shining shoes and
Which made Soar sore. socks,
Had Soar seen See's saw for shoes and socks shock Susan.
Before See sawed Soar's seesaw,
See's saw would not have sawed
Soar's seesaw.
So See's saw sawed Soar's
seesaw. SILLY SALLY
But it was sad to see Soar so sore
Just because See's saw sawed Silly Sally swiftly shooed seven
Soar's seesaw! silly sheep.
The seven silly sheep Silly Sally
WOODCHUCK shooed
shilly-shallied south.
How much wood would a These sheep shouldn't sleep in a
woodchuck chuck shack;
if a woodchuck could chuck wood? sheep should sleep in a shed.
He would chuck, he would, as
much as he could,
and chuck as much wood as a
woodchuck would
if a woodchuck could chuck wood. A DOCTOR

LIGHT If one doctor doctors another

doctor, does the doctor
You've no need to light a night-light who doctors the doctor doctor the
On a light night like tonight, doctor the way the
For a night-light's light's a slight doctor he is doctoring doctors? Or
light, does he doctor
And tonight's a night that's light. the doctor the way the doctor who
When a night's light, like tonight's doctors doctors?
light,
It is really not quite right
To light night-lights with their slight
lights NEEDLES
On a light night like tonight.
I need not your needles, they're
BEAR needless to me;
For kneading of noodles, 'twere
I cannot bear to see a bear needless, you see;
Bear down upon a hare. But did my neat knickers but need
When bare of hair he strips the to be kneed,
hare, I then should have need of your
Right there I cry, "Forbear!" needles indeed.
 PRAYERS

HAIL MARY

Hail Mary,
Full of Grace,
The Lord is with thee.
Blessed art thou among women,
and blessed is the fruit
of thy womb, Jesus.
Holy Mary,
Mother of God,
pray for us sinners now,
and at the hour of death.

GLORY BE TO THE FATHER

Glory be to the Father, and to the Son, and to the Holy Spirit. As it was in the
beginning, is now, and ever shall be, world without end. Amen

OUR FATHER

Our Father, who art in heaven, hallowed be Thy name; Thy kingdom come; Thy will
be done on earth as it is in heaven. Give us this day our daily bread; and forgive us
our trespasses as we forgive those who trespass against us; and lead us not into
temptation; but deliver us from evil. Amen.

ANGEL OF GOD

Angel of God, my Guardian Dear

To whom His love commits me here
Ever this day, be at my side,
To light and guard
To rule and guide.
Amen
 THANK YOU LORD

Thank you Lord for the morning light

Thank you too for the thing I like and the ones

That I dislike

For everything you let me have and for the

Ones you’ve taken back

Because you know the cause and why

But most of all for being alive

Amen

A CHILD’S GRACE

Thank you for the world so sweet

Thank you for the food we eat

Thank you for the birds that sing

Thank you, God, for everything

GOD BLESS

God bless all those that I love

God bless all those that love me

God bless all those that love those that I love

And all those that love those that love me.

 THE APOSTLES' CREED

I believe in God, the Father almighty,

creator of heaven and earth.

I believe in Jesus Christ, God's only Son, our Lord,

who was conceived by the Holy Spirit,
born of the virgin Mary,
suffered under Pontius Pilate,
was crucified, died, and was buried;
he descended to the dead.*
On the third day he rose again;
he ascended into heaven,
he is seated at the right hand of the Father,
and he will come to judge the living and the dead.

I believe in the Holy Spirit,

the holy catholic Church,
the communion of saints,
the forgiveness of sins,
the resurrection of the body,
and the life everlasting. Amen.
 BOARDS

Blackboard – chalkboard – magnetic board

It is the most valuable and flexible teaching aid because it can

be constantly used and incredibly versatile. Over all, it has
several advantages:

a) It is readily available in all classrooms.

b) It is usually very large.
c) It involves little or no-time consuming preparation.
d) It has a great dynamic potential- the teacher can add to it
or erase from it al will.
e) It allows student participation.
f) Magnets can be used.
g) Magnetic boards serve a double purpose.

Techniques for a satisfactory use of the blackboard:

❖ Do not block the children´s view.

❖ Do not overcrowd the blackboard.
❖ If necessary, use your classroom tools to help you draw
(rulers, compasses, etc.)
❖ Use a curtain partly opened to expose only a part of your
material at one time.
❖ Use chalk of different colors.
❖ Use a “clothes line” with clips to hang pictures and charts.

The blackboard has major uses besides those which it shares

with other visual aids:

1. For the presentation of the written form of new language

items.
2. For written exercises.
 3. It´s an aid to pronunciation by means of intonation lines,
underlining stressed syllables, exposition of weak forms
and silent letters, etc.
4. The meaning of the new unit can be demonstrated quickly
and effectively.
5. CUE words can be given to create original situations.
6. For games.

Disadvantages:

1. It lacks color.
2. It is commonplace, the students are too often accustomed
to seeing it in use.
3. It can easily be misused and so may be distracting and
confusing.

Recommendations:

1. Plan your blackboard layout so that you have enough

space for everything that´s to be put on it.
2. Do NOT write over something previously.
3. Erase anything you no longer need.
4. Change your position when you write, so you don’t
obstruct anyone´s view.
5. Draw quickly, boldly, efficiently, and as large as possible
preferably provoking some sort of oral practice while
doing so.
6. Move away from the blackboard (when possible) so that
attention is focused on the board and not on the teacher.
7. Teachers can benefit effectively with the use of colored
chalk.
8. Talk to your students as you are writing on the blackboard
and turn around frequently to face them.
9. Ask the student what to write as often as possible and get
examples from them.
10. Ask students what they think the word or picture is
going to be and in this way, you will create expectation on
the students.
11. Ask students to spell the difficult words for you.
12. When writing, try standing on the right of the board
as the students see it. This has the advantage of forcing
you to write in straight lines; you are facing the class, and
what you write is revealed to the class as it goes up.
13. To avoid untidy work, the blackboard can be
sectioned off into areas. One way of dividing it up is the
H model which effectively divides the blackboard into
four.

Thus part of the board can be kept for pictures, part for
writing tables and for lists, or part can be kept for planned
work and part for impromptu work.

Don’t forget that you are not limited to the blackboard

itself. The areas on either side can be used equally well for
display purposes.
 SLOT BOARDS

Even more useful in presenting word order is the slotboars. You

can make this by stapling four or five narrow strips of cloth to a
big piece of hard cardboard, so as to form pockets into which
you can place words bearing individual words and punctuation
marks.

Advantages

1. Easily made and manipulated.

2. Excellent for “busy work” for students that are always

finished.

3. Excellent for sentence structure, punctuation marks etc.

4. Wordcards for use in slots are easily made.

5. Children love to manipulate the cards.

Uses of the slotboard:

1. The principal use of the slotboard is to dramatize the word

in English.

2. It may be used for visual substitution drills.

3. It may be used for flash cards of isolated words.

NOTE: Not intended for permanent use. Material is used

momentarily
 FLANNEL BOARD

The flannel board is an excellent aid to use when the lesson

requires the changing of scenes or positions, people can change
positions in a scene or also there can be changes in word order
or objects.
The flannel board can be made with a large piece of celotex
covered with bright-colored flannel or felt.

SUGGESTION FOR EFFECTIVE FLANNEL BOARDS.

1. Place on an easle which can be titled slightly, this reduces

glare on pictures.

2. Construct easle in adequately and check if all will stick

sufficiently.

3. Use good flannel or felt.

CLUES FOR GOOD PRESENTATION AND EFFECTIVE

TEACHING WITH FLANNEL BOARDS

1. Keep presentation simple, a few, simple, strong symbols

well explained and discussed are better than complex
display.

2. Well in advance arrange your materials in the proper

order.

3. Stick your characters firmly on the flannel board to avoid

sliding or falling.

4. Use a satisfactory method of fill-in and storing materials.

RECOMMENDATIONS
1. Drawings, photographs, cut-outs, word cards etc. should
be simple and large enough.

2. Teacher should make sure the material is perfectly seen

from every point in the room.

3. For the benefit of yours and other teachers, classify

material and store it properly. Write information and
indication of use on the back of the aid (level, teaching
point, objectives, suggested models, time, etc.?
 PLASTIGRAPH

A plastigraph is a display board make of heavy cardboard

covered with plastic. It is used as any flannel board or magnetic
board. Objects are drawn on the transparent plastic. Permanent
felt pens are used, but also erasable felt pens can be used.

ADVANTAGES

1. Easy ad economical to use

2. Materials can be traced immediately from the original

copy

3. Prints can be covered with plastic and will easily adhere.

4. There is a host of ideas that can be developed for the

plastigraph.
 FLIP CHARTS

A flip chart is a set of sheets of the same size fastened together

by rings or thin metal or wooden strips and mounted on an
easle.

PURPOSE

1. Especially valuable in classes which require that certain

procedures be carried out in sequential steps.

2. Valuable for teaching ESL by means of stick figures or

graphics.

CHARACTERISTICS

1. Easily made, stored, and move around.

2. Inexpensive and clear presentation.

3. Easily colored-coded for quick feedback.

4. Semi-permanent work can be made ahead of time and

reused for feedback.

REQUIREMENTS

1. Easel should be at good height and easily manageable.

2. Paper should be thick enough so as not to see the images

from the preceding page.

3. Well mounted.
 MAGNETIC BOARD

A magnetic board is a sheet of porcelain enamel plastic

laminates, or tin which attracts magnetic objects.

ADVANTAGES

1. Objects can be made before hand and stored for feedback.

2. Especially valuable for multimedia presentation.

3. visual figures are more effective

4. magnets are easily secured objects

Types of magnets: clip-on magnets, commercially made,

refrigerator door stripping.

TIPS FOR BACKGROUNDS ON MAGNETIC BOARDS.

1. Use masking tape to make boundaries, lines, etc, for a

game.

2. Rule the board with painted lines for a music staff or

graphs. Use acetate felt pens which can be erased easily.

3. You may write on the board at the same time you use
objects to be attached using magnets.
CREATIVE CONSTRUCTION

I. TYPES OF CREATIVE CONSTRUCTION:

1. Paper folding, basket, animals, place cards, etc.

2. Handcrafts
3. Puppets, puppet theaters, masks
4. Miniature models
5. Mobiles
6. Miniature building
7. Hats
8. Heart art
9. Book markers
10. Animated animals
11. Spool animals

II. PURPOSE OF CREATIVE CONSTRUCTION:

1. To make education realistic

2. To encourage students to think on their own
3. To bring out the best in every child’s creative ability
4. To make teaching appealing and attractive
5. To provide with new learning experiences
6. It requires considerable initiative, judgment, experimentation, and evaluation.

III. BASIC PRINCIPLES FOR CONSTRUCTION IN THE CLASSROOM:

1. Ask that students create or invent only those things that are functional or
useful
2. Remember that the end is often not so important as the method used and
experience gained in reaching the end.
3. Help students to learn that the trial and accidental success, trial and retrial,
trail and alteration and modification, and trial and discarding are all essential
elements of the problem-solving process.
4. Encourage students to plan on paper, the inexpensive way to start before
undertaking and construction.
5. Provide all the necessary tools and materials. Be sure that directions are clear
and specific.
6. Provide enough guidance (without doing it yourself) so that the student is
encouraged to become interested.
7. Look for ways of correlating construction activities with your students
regular activities in other subjects.
8. Use community or school staff experts. Remember too, that instructional
material centers may offer other useful suggestions.
9. Finally, recognize that to capitalize on construction activities, a teacher must
herself have and use an inventive, creative approach to teaching. The
responsibility of teaching as a career requires elements of inventive process.
II. DRAWING AND ILLUSTRATING

Illustrations help a great deal in making slide presentation more interesting and
effective

Illustrations:

• Are generally eye appealing.

• Clarify information
• Emphasize important points
• Add humor to the overall presentation
• Focus the attention of the viewer

Don’t crowd your slides. Keep the content simple by using singe words or short
phrases. Remember, most of the information will be contained in your audio
presentation:
The visual are basically attention-getters.

Lettering:

• Type and try always to make captions with illustrations

• Hand letter following these techniques:
• Use a letter guide
• Use block letters
• Capital letters are easier to read
• Only use key words and phrases on your slides

Other uses of the projector and slide:

• Optical illustrations
• Coordinate audio and visual elements
• Enlargements
• Sandwich slide-place a small specimen between two sheets of clear
film. Mount
• Use cellophane strips to from designs
• Draw random geometric figures directly on film
• Spotlight: use a piece of cardboard with a hole punched in the center.
You may also use stars, arrows, squares, etc.
 DESIGNER BAGS

For the latest thing in spring cleanups, try litter bags designed
and signed by your students. Each child uses crayons of colored markers
to decorate a plain lunch bag. The student then gives the bag to parents
or another adult to use in the family car as a litter bag. Students should
write a caption on the bag since this is the moment in which the practice
of the English language appears.

TEACHER MAGAZINE, DIETRICK Mary.

 PERSONALIZED BOOKMARKS

The personalized bookmarks will provide a unique way for your

students to remember where they are in their reading.

Have the child cut two felt strips about four centimeters by
fifteen centimeters. Toward the end of one strip, the student draws
and cuts our geometric shape large enough to act as a frame for a
personal snapshot.

Help each child baste the two strips together with the snapshot
positioned inside. Keep the photographs in place by gluing and basting
around the edge of the frame.

The bookmarks are fun to make. And they will also make reading
fun, too.
 HATS
RL BONNET: Cut away one long
SOLDIER CAP: Cut a 12” by 18” side bag for the back of the
piece of paper. Fold it in half. bonnet. Fold back the three
Fold double edge corners to remaining sides. Decorate with
meet in the center. Fold single colored paper around front.
edges up. One on each side. Thread ribbons through holes at
Turn corners under and paste each side to tie under the chin.
them in place.

BEANIE CAP: Use the top half

CLOWN HAT: Cut a 12” by 18” of the brown paper bag. Turn up
piece of paper and form it into a all the sides of one open end.
cone. Paste down edge. Make a Gather together the edges of
clown’s hat painting circles and the other open end and tie them.
gluing a pompom on the top. Put a badge at the front or sew
button all around the brim.

TOP HAT: Cut a piece of paper ORIENTAL HAT: Cut a circle.

wide long enough to make a tube Cut on line A. Paste line A over
to fit around the head. Paste line B. Put string or cord for
ends together. Cut a round piece tying.
to fit over one end of this tube. Cut a brim from a circle.
Cut a ring to fit around the other Use the tabs to fasten to the
end to form the brim. Paste a brim.
band of bright colored paper Cut a cone from a quarter circle
around the brim for a hatband. using tabs.

PILGRIM HAT
 ORIGAMI

Origami is the art of paper folding, it refers to all types of

paper folding, even those of non- Chinese origin. The goal of
this art is to create a given result using geometric fold.

Origami was originated in China, where it was called “Zhe-Zhi”.

It was mostly a traditional art for amusement of children.
Origami uses a small number of different folds, but they can
be combined in a variety of ways to make hard designs. In
general, these designs begin with a square sheet of paper,
whose sides may be different colors, and usually proceed
without cutting or fastening paper.
Jumping frog

Note: Many people seem to be confused by step 12. The drawing shows how to
make the froggy hop: run your finger down his back, compressing his back legs like
a spring.
Origami Cup

This is a very simple origami design. Start with square origami

paper or Use thicker paper if you want to drink out of the cup.
Follow diagrams and instructions below.
Origami Box

This is my favourite origami design. It is not difficult. Start with

two pieces of square origami paper, one slightly larger than the
other. Follow diagrams and instructions.
Origami Parrot

This is a one of many origami Bird designs. It is fun for kids

and very easy. Start with square origami paper. Follow
diagrams and instructions.
Origami Crane

The Crane is a symbol of long life and happiness in Japan.

This is the most famous origami design. It is fun but can be
difficult for kids.

Start with square origami paper. Follow diagrams and

instructions below.
Origami Shuriken (Ninja Star)

This is a famous origami design. It is fun for kids but quite

difficult. Start with two pieces of square origami paper. Follow
diagrams and instructions.
 PUPPETS
MARIONETTES

The art of making and working marionettes dates back from the
early Greeks and Romans.

A marionette is a small jointed figure that is made to move about

by wires or strings (there are often called string puppets.) Usually the
height of a marionette is half the size of the stage on which it will
appear.

Here are some instructions for making a marionette.

INSTRUCTIONS:

1. Remove doll’s arms and legs.

2. Separate arms at elbows and legs at knees (reconnect them with
long loose stitches of thread or with adhesive tape.)
3. Remove stuffing from lower part of arms and legs and substitute
sand in its place.
4. If body seems stiff, remove some stuffing at waist and replace
with cotton.
5. If you wish to change the face, roughen cheeks, nose, and chin
with sandpaper. Build up the desired creatures with plastiline, a
kind of putty.
6. At least 7 control strings are necessary to make a marionette
perform well--two for head, two for hands, two for knees, and one
for back. THESE ARE FASTENED TO THE DOLL AFTER IT HAS
BEEN DRESSED.
7. Use strong waxed thread for the control strings. Tie beads or
buttons at the end of the strings to prevent them from slipping
through the holes of the control.
8. A simple control is made from a trousers hanger;

a) nail hanger together

b) nail crosspieces for strings as shown in the diagram.
MARIONETTE

STEPS:
1. Knot or sew top.
2. Stuff head.
3. Gather and tie a
string around neck.
4. Stuff torso.
5. Stitch ¾”
(slightly gather waist.)
6. Stuff hip area.
7. Sew, then cut split
between legs; stuff from hip
to knee, stitch; stuff from
knee to ankle, sew end.
8. Add weights to ankles
(pebbles.) Sew bottom together.
9. Sew foot-shaped cardboard
to ankle, using a bottom at heel
to keep thread from pulling
through.
10. Sew each side of center line
drawn with chalk on toe.
11. Cut up center line, separating
arms.
12. Stuff arms to elbow, stitch, stuff
to end of hand and sew ends to together.
13. Attach loosely to shoulder of
torso with string loop.
 TECHNOLOGY

Visuals, Videos, and Multimedia - Why Use Them in Teaching?

Jim Nichols

Based on 25 plus years of teacher training, I can verify that few educators
effectively use visuals, videos, and multimedia as methods of presenting
material to students. My position is that proper teaching methodology works
regardless of presentation mode. The recent recognition by literacy
organizations (NCTE and IRA) of "Viewing" and "Visually Representing," as
literacy skills, along with reading, writing, speaking, and listening, indicates
both the importance of teacher use as tools of instruction and the need for
learners to develop skills in interpreting and applying them.

The following overheads have been presented to many teachers and teacher
candidates to sensitize them to the need for effective use of visual media.
These serve as an overview of how visual media may be infused into the
teacher's curriculum. Most often teachers use these without knowing why or
how to do so. This brief tutorial provides a philosophy and structure for doing
so.

Rationale and Philosophy

• VIEWING AND VISUALLY REPRESENTING ARE RECOGNIZED AS

LITERACY/LANGUAGE ARTS SKILLS BY NCTE,IRA,ET AL
• RECOGNIZE THAT STUDENTS LIVE IN A VISUAL/ MULTIMEDIA
WORLD
• PROVIDE MULTISENSORY APPROACH
• INCREASE STUDENT ATTENTION
• PLACE CONTENT IN DRAMATIC, MORE PERSONALIZED
CONTEXT
• EFFICIENT WAY TO PRESENT MATERIAL
• ALLOW POOR READER TO PARTICIPATE
• PERMIT STUDENTS TO SEE WHOLE PICTURE
• DRAMATICALLY INCREASE LEARNING/RETENTION OF
MATERIAL

HOW SHOULD WE USE IN TEACHING?

• AS PLANNED ACTIVITIES IN WRITTEN CURRICULUM SEQUENCE

• AS TOOLS TO FACILITATE LEARNING
• AS CO-SOURCES OF CURRICULUM CONTENT/SKILLS WITH
TEXTBOOKS (NOT LESS IMPORTANT "ADD-ON")
• VISUALS, VIDEOS, AND MULTIMEDIA MUST BE
SYSTEMATICALLY AND SEAMLESSLY INTEGRATED INTO ALL
CURRICULUM AREAS
• GENERALLY INEFFECTIVE PRACTICE FOR VIDEOS-TAKING
NOTES WHILE VIEWING(STUDENTS MISS WHAT IS BEING
PRESENTED,WHILE THEY ARE NOTE-TAKING)
 • GENERALLY EFFECTIVE PRACTICE-PRETEACHING(FOCUSING
ATTENTION ON CRITICAL INFORMATION) AND FOLLOW-
UP/ACCOUNTABILITY ACTIVITIES
• STUDENTS MUST BE ACCOUNTABLE FOR CONTENT, AS THEY
ARE WITH TEXTBOOK AND TEACHER NOTES
• WE HAVE A PROFESSIONAL RESPONSIBILITY TO TEACH OUR
CURRICULUM IN THE OPTIMAL WAY AVAILABLE-THIS INCLUDES
SYSTEMATIC INTEGRATION OF VISUALS, VIDEOS, AND
MULTIMEDIA INTO OUR CLASSROOMS.

HARDWARE:

1. Filmstrip projector

2. Slide projector

3. Movie projector

4. Record player

5. Tape recorder

6. Overhead projector

7. Opaque projector

8. Super-8 projector

9. Television

10. VCR

11. DVD

SOFTWARE:

1. Filmstrips

2. Transparencies

3. Slides

4. Records-CD
 5. Tapes

6. Films

7. Video Cassettes

SLIDE SERIES

ADVANTAGES:

• Prepared with any 35mm. camera for most uses.

• Result in colorful, realistic reproductions of original subjects.
• Easily revised and updated.
• Easily handled, stored, and rearranged for various uses.
• Very easy to adapt for any kind of group use.

IMITATIONS:

• Can get out sequence and can be projected incorrectly (up side
down, for example)
• Require some skill in photography.

USE WITH OTHER MEDIA:

May be accompanied with a tape (words and music.)

 PLANNING AND REPRODUCING HANDMADE SLIDES

Production of 2” X 2” slides

A. Direct Copy
a) Cut clear acetate film into 1 7/8” squares. Size is
crucial.
b) Place a square of film on top of the material to be
copied. Trace with pen and Indian ink.
c) Mount. Commercial mounts or your own.
NOTE: Remove the excess ink from the pen. Start the flow
with a piece of scratch paper until desired line weight is
obtained. Be extremely careful not to smear glue on the acetate
film when pasting the mount together.

B. Transparency
a) Make paper master using the master desired:
single frame filmstrip, double frame filmstrip or 2”
by 2” slide.
b) Copy may be made suing the following techniques:
type copy (use the typewriter with a fairly new dark
ribbon and a clean type) pencil copy (freehand
lettering or sketches may be used. Keep your pencils
sharpened and make lines consistent in darkness and
thickness.)
c) Use a Thermo fax machine to make your filmstrips.
Kodak will make your copies.
d) Mount.

SLIDE-TAPE REMINDERS
I. Storing: Use sheets of plastic 2windows provided for this use.
There are also special cases for keeping slides.
II. Handling:

1. Never touch the actual slide. Oil from the fingers marks them
Permanently. This is seen on each slide on the projector.

2. Be very carefully when removing and replacing the slide to avoid

Bending the frame. This bent frame will get caught in a carrier and
Cause trouble in the projection.

III. Replacing: carefully check your slides when removing them. Check
 To see if the number is complete. In a commercial slide-tape
Presentation, one last slide breaks the series and is not
Replaceable unless you buy the whole set.

IV. Removing and Replacing in Plastic holder.- insist on a signature and

a date on a piece of cardboard cut to the purpose. This is put in
the place of the slide when it is removed from its place. This is
then your control. The cardboard is removes only when the slide
is returned. This will also avoid many ill feelings of individuals are asked
to be responsible for using slides.

V. Cataloging.- Keep some records of all your software especially if

lent to the students or other people. Mark the slide the plastic
window. In this way you will always know at a glance where to
replace the slide. Keep the script or tape with slides.

SLIDE PRESENTATION

EVALUATION
Title___________________________

1. Were the slides synchronized with the script?

2. Were there too many slides and too little script?
3. Was the script too long for the amount of the slides presented?
4. Was the presentation interesting and challenging?
5. Were the slides well chosen and directly related to the subject?
6. Were there any supporting activities after the actual presentation?
7. Was there any introduction to the presentation?
8. How was student’s behavior during the presentation?
9. Did the presentation capture the attention of the whole class?
10. What did you like and what did you dislike about the presentations?
 TELEVISION

ADVANTAGES:
1-Permit selecting the best audiovisual media to serve program needs.
2-Permits normally unavailable resources to be presented.

LIMITATIONS:
1-Not available in most schools.
2-Expensive equipment.
3-Not useful with large classes.
 PUTTING THE COMPUTER TO WORK IN YOUR WRITING CLASS
(FORUM MAGAZINES-KLOBUSICKY, Elizabeth)

A computer, if used in a skillful manner, can lend its potential for

clearness and flexibility to the word worker. This is my first hypothesis.
Naturally, what holds true for the professional writer is doubly
important for the student not used to wresting with the written word. In
many people the sight of an empty sheet by no means triggers a wave of
creative energy but an irresistible impulse to get out of there fast. But
with a word processor the fear of getting lost in a jungle of confused
scrawls usually evaporates once the student has mastered a few basic
techniques, he will soon find pleasure in experimenting.
The composition students will profit working with a processor.

Solving the isolation problem

Once of the main criticisms against using the computer in general is the
isolation created by working with this kind of machine. But writing,
regardless of weather you use a quill, a ballpoint pen, or an IMB PC, is
always a lonely task. To effectively counteract the dangers of becoming
a computerized hermit. I can think of only one workable measure. When
faced with the unfamiliar, people fell more at ease groups, especially in a
hostile environment. Experience has shown that students working
together at computers in small groups fell much more at ease where they
can exchange information and reassure each other.

The solution to our problem is surprisingly simple: NEVR LET AN

INDIVIDUAL, especially in the learning phase: SIT DOWN TO WORK
AT THE COMPUTER BY HIM/HERSELF.

After a brief period of getting acquainted, the teacher explains what

will be going on in the course. Then he asks the students to split up into
groups of four or five. After one or two trial periods, the group should
remain stable for the duration of the course. Each group will profit by
eliciting two position holders; a group leader who is responsible for
directing each session’s discussion, and a scribe whose job is to write
down what is happening. The group reports serve the following functions;
1) The advisor is able to keep track of what’s going on in the various
groups. 2) The group can follow the meanderings of its learning process
in retrospect.

In a two-hour session, at most 20 minutes should be used for work, in

the plenum, where group reports assignments, and problems are
discussed.

Introducing word processing

When the social aspects of your writing class have been settled, you are
ready to introduce the students to the computer.

We concentrate on the four absolute essentials.

1- The explanation of the basic parts of the computer.

• Central processing unit: brain
• Keyboard: the perceptive organ of the machine
• Monitor: a TV periscope that can be used to find out what’s
going on in the machine
• How turn on the computer

2- A few words about how to treat the electronic notebooks: disks.

o No bending
o No smoking
o No coffee
o No heat, etc.

3- The students have to learn how to get the electronic workbook out
of their bags and open the text to page – not a simple task. For
instance, if you are working with an “Apple” this takes three steps:
feed the machine with a system disk that makes the apparatus
receptive to the writing program. Then, in the next step, the
computer is fed with the writing program. Only after the machine
has been supplied with this ability-it takes about five seconds, can
it start spelling written words into the screen your electronic
scratch pad.
4- Principal operations of word processing:

o Creation: simply typing.

o Deletion: writing out to invisibility.
o Block movements: usually a combination of deletion and
insertion.
o Saving: closing the notebook and shelving in the right place.
o Printing.
 CAN COMPUTERS TEACH LANGUAGES?
(FORUM MAGAZINE, DHAIF, Husain)

In the 1960’s the scene of foreign-language learning and teaching was

invaded by the spread of language labs as the most effective answer for
most of the problems facing the learners of foreign languages, a move
which was initiated by the behaviouristic theory in learning and
reinforced by the audio-lingual approach in language teaching. Since
1970’s with the rapid development in educational technology, it seems
that the computer has taken up a similar role in foreign .language
teaching. Supported by the behaviouristic theory, and learner-centered
pedagogy, the computer has surfaced as possible substitute for
classroom conditions with its structures procedures.

There has recently been a surge of papers, seminars, and research work
devoted to high lighting the positive role the computer can play in the
teaching and learning process in general, and in learning languages in
particular. So much so that versatility and accessibility of the computer
has in fact led some people to suggest that the computer may one day
replace the teacher. Although such a view might be overambitious, the
truth is the computer has become a highly sophisticated addition to the
classroom situation, and has captured the love and admiration of the
learners. Therefore the call has appeared

CALL: Computer-assisted language learning.

Historical perspective

Although computers have been with us since the 1940’s when they were
used in commerce and government administration in America, they were
not used for educational purpose until the 1960’s. The 1960’s and the
1970’s witnessed the evolution of CALL as a result of the development in
real research related to the use of the computers for linguistic purposes
and of creating viable language-learning conditions.
The 1980’s have witnessed the spread of the computers bothing
educational institutions and the people’s homes. Since the beginning of
the80’s computers have also found their way into many primary schools.
CALL packages have also become more readily available on the market.

The computer laboratory has become an integral component of foreign

language-learning programs in most educational institutions.

CALL and the concept of artificial intelligence

The current CALL techniques can be divided into three categories:

1. Word guessing
2. Games such as storyboard
3. Traditional techniques such as structural drills, discussions
simulation whereby the computer presents a text to develop
conversation between learners which usually ends up in making
decision.

However, many teachers and programmers involved in using or producing

CALL materials have always felt that CALL techniques should be made
more communicative. That is to say as our aim is to teach language for
communication, CALL programs should employ a communicative
methodology that will involve the learner in a more meaningful
interaction with the computer, and not merely in manipulating language
structures.

Research intro creating communicative CALL programs was based on the

concept of “artificial intelligence”.

All aims to create computer programs that “exhibit behavior that we call
intelligence behavior when we observe it in human begins.” Theoretically,
the basic concept in AI is the setting up of problem-solving situations
where the computer applies techniques similar to those employed by
human begins in solving those problems, and where the performance of
the computer improves through experience. The term experience where
is meant to refer to the information that the user provides the
computer in a course of interaction. Programming a computer with
artificial intelligences is to make the computer generates.
And responds to language appropriately, provided that the language
relates to knowledge of a restricted world.
A good example of this proved in a program called DOCTOR, which is
based on a computing program known as the Elisa program developed by
Weizenbaum in 1996.
In this program the computer as you assume the role of psychotherapist
and manipulates the user’s input sentences.

CALL programs based on the Elisa technique aim to engage the learn
in a series of plausible exchange that resembles a natural conversation.

CALL and the learner’s communicative competence

To have a communicative command of the language, the learner must

be able to produce appropriate utterances in the context given. In other
word, the learner should have a communicative competence which
Campbell and Wales defined as “the ability to produce or understand
utterances which are not so much grammatical but more important,
appropriate to the context in which they are made.”

Developing the learner’s communicative competence, involves much

more than manipulating sentence patterns to produce grammatical
utterances in a controlled situation. It includes acquiring rules of use as
well of rules of usage. Teaching language communicatively, then, extends
beyond syntax to semantics, and takes into account not only the form of
language but also other aspects related to the use of the language.

However, the dialogues that the user develops in using the Elisa
program, no matter how sophisticated it may becomes, cannot be
considered a real interaction but rather a superficial stimulated
conversation based on a matching keywords and preset responses.

As we are still unable to develop programs that will enable the

computer of accurate information that would enable it to make
intelligent decisions in the course of any exchange with the user or to
make an intelligent and interpretive leap, it would be more helpful to
suggest that these so-called communicative CALL programs can provide a
lot of fun and amusement and can perhaps offer a lot of language
practice to develop the learners drammatical competence.
CONCLUSION:

We shouldn’t of course ignore the enormous help the computer can

offer the teacher and the learner by providing learning situation in
conceivable by other technical gadgets. There is a humanistic side in
using computers in teaching. The computer will tolerate learners
linguistic and will never get angry with him or her
 VIDEO IN LANGUAGE TEACHING
(forum, bouman, lenny, veny, video, vici: video in language teaching)

Video besides being an extensive source of information can be an excellent aid in

language teaching, worth being used regularly.
Language is a means of communication between people, in a certain time, for a
particular purpose, and it makes use of verbal and visual signals for expression. It is
especially because of this combination of sound and vision that video, more than a
textbook, a blackboard, an audio-tape or a computer, depicts real life situations, real
life people, and real life language. Not only does the learner learn to decode and
understand the verbal elements of the target language, but also learn paralinguistic
information such as facial expressions, gestures, register, social setting, and cultural
behavior when exposed to video.
Besides being such an authentic medium, video is also a powerful and entertain
medium. Children are experienced TV viewers, though most of their viewing is
passive, in a domestic context, and mainly for relaxation and entertainment.
However the essence of so by making use of this very element in a class, passive
viewers can be turned into active ones by tickling their interest, by providing them
with stimulating tasks that generate response and participation. Finally, we may se
video just for what it is: television.

VIDEO MATERIAL

Video material can be briefly categorized as:

a) Commercial, readymade material for ETL.

Video Publisher

• Communicate Longman
• English teaching theater Heinemann
• Family affair Longman
• Follow me BBC
• Its your turn to speak Film scan
• Television English video BBC
• Video English Macmillan

b) Specialized material produced for educational or public relations

purposes by industries and business companies.
c) Off-air, self-recorded material.
d) Role plays.
e) Interviewing each other.
f) Class debates.
g) Class makes its own commercial or new bulletin.

FORUM, April 1990

Veni, Video, Vici; video
 In language teaching
BOUMAN, Lenny.

PUBLISHERS:

• NELSON FILMSCAN
Nelson house, Maufield RD.
Walton on Thames
Surrey KT 12 5pl
Great Britain.

• LONGMAN HOUSE
Burnt Mill
Harlow.
Essex CM29 2EJE
Great Britain.

• HEINEMEANNLATD
22 Bedford Square
London WC1B 3HH
Great Britain

• MAXWELL-MACMILLAN
INTERNATIONAL
866 Third Ave.
New York,
U.S.A

• BBC/ENGLISH BY
RADIO AND TV
Postbox 76 Bulshhouse
London WC2b PH
Great Britain
 THE VIDEO LESSSON

Previewing:

Anticipate

Viewing:

Present

Exploitation:

Compare

Practice

Communicate

Viewing:

Reinforce

Follow-up:

Consolidate

1. PRE-VIEWING: the class a task beforehand and they will look and listen with more
attention.
2. FIRST VIEW: A video film or sequence can be presented to the class in four ways:

a. With sound

b. Without sound
c. Right through form beginning to end
d. In parts

3. EXPLOTATION: This time portions of the film are viewed intensively to exploit the
language, pronunciation, intonation, functions, etc. Some suggestions for this part are.

a. The learners work in pairs. A. watches without sound and B listens. Then B.
descries the setting and characters from what he heard. A. does the same
from what he saw-
b. The class is given a number of scrambled sentences describing certain
scenes, or scrambled lines of the dialogue they saw. They have to rearrange
them and put then into right order.
c. A section of the video is shown, but T. stops is a few times to ask the class to
predict the next sentence.
 4. SECOND VIEWING: At this stage, the class watches the video merely to reinforce
what they have learned.

5. FOLLOW-UP: this stage of the lesson is meant to further develop the learner´s
communicative competenc, and to stimulate response and creativity.

Some responsibilities are:

RECOMMENDATIONS FOR SELECTING VIDEO MATERIAL

1. Carefully plan level and language objectives.

2. Select material according to exploitability.
3. The subject and the information given should not be too complex or too extensive.
4. The setting, characters, and subject should be realistic, credible, and informative.
5. The video sequence should be no longer than approximately 30 minutes, to attract the
learner´s attention and full concentration.
6. Look at what the video recorder can do and what you can do with it. E.g. “Does it
have devices such as freeze-frame? This is very useful for vocabulary teaching.”
7. Always make sure you set up and try out your equipment in advance of the lesson.
8. Make worksheets for your students, to encourage them to work in a structured way
with the language and to practice and use the language thoroughly.

USEFUL OFF-AIR MATERIAL

1. Drama dialogues.
2. Documentaries.
3. Commercials.
4. The news.
 MOTION PICTURES

ADVANTAGES:

1. Are particularly useful in describing motion, showing relationships, or giving impact.

2. 8 mm. film reduces cost for materials and services.
3. Insure a consistency in presentation of material.
4. Super 8 mm. can be filmed by persons with little experience.

DISADVANTAGES:

1. Expensive to buy and difficult to rent.

2. Often times not available for free rental (embassies) because of unified program.
3. Easily damaged.
4. Projectors are not accessible to most teachers.
5. Require special projection room.
 RECORDING

ADVANTAGES:

1. EASY TO PREPARE WITH REGULAR TAPE RECORDERS.

2. Can provide applications in most subject areas.
3. Easy to operate.
4. Flexible and adaptable as either individual elements of instruction or in correction with
programmed materials.
5. Many languages skills can be taught with the help of recordings (CD, records and
tapes). For example_ students can practice their listening comprehension and
broaden their vocabulary by learning songs they ear on a tape.
6. Easy to take from one place to another. (Can be used outdoors and indoors).
7. Students can train their ear by listening to different kinds of pronunciation.

LIMITATIONS:

1. Required moderate to high equipment costs.

2. Often handled carelessly.
3. Sometimes, if not done carefully, tapes may result on poor quality.

USES WITH OTHER MEDIA:

1. Maybe accompanied with slides, transparencies, or filmstrips.

Drawing and Illustrating

Illustrations help a great deal in making slide presentation more interesting and effective.

Illustrations:

• Are generally eye appealing

• Clarify information
• Emphasize important points
• Add Humor to the overall presentation
• Focus the attention of the viewer

Don’t crowd your slides. Keep the content simple by using singe words or short phrases.
Remember, most of the information will be contained in your audio presentation. The visual
are basically attention-getters

Lettering:
 • Type and try always to make captions with illustrations
• Hand letter following these techniques
• Use a letter guide
• Use block letters
• Capital letters are easier to read
• Only use key words and phrases on your slides

Other uses of the projector and slide:

• Optical illusions.
• Coordinate audio and visual elements
• Enlargements
• Sandwich slide-place a small specimen between two sheets of clear film. Mount
• Use cellophane strips to form designs
• Draw random geometric figures directly on film
• Spotlight: Use a piece of cardboard with a hole punched in the center. You may also
use stars, arrows, squares, etc.

Making Transparencies.

I. By means of an Infra-red copying machine.

In newspapers, magazines, and journals it is possible to find many pictures and drawing
from which to make excellent transparencies. By cutting out the section needed from the
paper a transparency may be made very easily on an infra-red copying machine-

II. Hand-drawn transparencies:

Unfortunately, not all teachers have such a copying machine a school. But you can prepare
transparencies yourself.

Advantages:

• Can present information in systematic, developmental sequences.

• Use simple-to-operate projector with presentation rate controlled by instructor
• Require only limited planning
• Can be prepared by variety of simple and inexpensive methods.
• Particularly useful with large groups.

Limitations
Require special equipment (which is expensive), faculties and skills for more advanced
preparation methods.

PowerPoint In the Classroom

Seen as the industry standard for delivering interactive multimedia

presentations, Microsoft PowerPoint, almost a decade old now, is beginning
to pop-up in classrooms of all levels across the nation.

PowerPoint is a wonderful tool for learning in both a student and teacher-

directed situation. It can add a new dimension to learning allowing teachers
to explain abstract concepts, while accommodating all learning styles. Used
properly, PowerPoint can be one of the most powerful tools for disseminating
information ever known. Employed inappropriately, PowerPoint could
potentially confuse students and make learning a difficult process.

Set the scene: Early 90's, Corporate America. A top-level executive begins
to assess his/her underlings not only on their ideas, but also on their
Arrangement of graphs and funny sounds that are integrated into their
PowerPoint presentations. The executive pays special attention to colors,
sounds, and movies being presented, all the while letting the content escape.

Set the scene: The New Millennium, Digital America. The once top level
exec.- now middle manager, looks back and wonders where the innovation
went in the organization.

Another victim of triple "P" (PowerPoint Paralysis)! Triple "P" can be defined
as the over zealous concentration on the utilization of PowerPoint, while
concurrently disregarding the content being exhibited.

Our staff agrees that triple "P" is not uncommon in the business-world. Our
goal is not to allow this practice manifest itself in the realm of education. As
skilled-educators, before we employ this tool in our classrooms we must
realize our susceptibility to triple "P."

What No One Tells You About PowerPoint

1. You don't need to waste your money on a book to learn PowerPoint. The
program comes with a complete tutorial. You can access this by clicking on
the help portion of the tool bar. The web also has an overwhelming amount of
well-written Articles. [Link] has highlighted our favorite sites in
the "Learn PowerPoint" section of this tutorial. This is accessible by clicking
on "Learn PowerPoint" to the left.

2. There are plenty of sites on the web that allow you to access many types
of different media (pictures, sounds, movies, etc.) for free.

3. Microsoft has made available a free PowerPoint viewer that allows you to
show presentations on any computer made in the last five years. You can
find download an area by visiting [Link] and type "PowerPoint
Viewer" into their search engine.

4. PowerPoint makes it easy to convert any presentation into a web page.

You just have to save your presentation as HTML.

5. Most schools purchase lesser-known presentation software for their staff

and students due to cost. If you look into it Microsoft actually gives academic
institutions that buy multiple copies of PowerPoint a reduced price. When
buying 25 or more copies, PowerPoint could actually cost your organization
the same if not less than other presentation

What's Good About PowerPoint?

1. PowerPoint is fun to watch and fun to make.

2. Used correctly, PowerPoint can accommodate all learners' needs.

3. It has a spell-check function! Something our black boards and overheads

lack.

4. It motivates students when used in moderation.

5. It motivates staff.

6. PowerPoint allows you to reflect on your lesson and correct any needed
changes. Finally, you can create the perfect lesson!

7. Imagine to be able to print out what you did in class for students that were
absent. Better yet, turn the accountability on to students and post your
presentations on-line.

8. PowerPoint is not hard to learn. Our technology staff rates it a "B+" for
ease of use. It should take about one hour to learn the basics.

What's Bad About PowerPoint?

1. Content can sometimes take a back seat to flash. Watch-out for triple "P."

2. Computers crash, networks go down, viruses can plague computers!

Always have a back-up plan!

3. Overuse can bore learners and diminish PowerPoint's effectiveness.

4. Classrooms need large monitors or projectors to display presentations.

Make sure your technology plan furnishes this. With simple TV-out cards or
VGA-TV converters, this can be easily accomplished.

5. A successful presentation can take several hours to develop.

When it comes to enhancing learning, black boards are good, overheads are
better, but PowerPoint is the best. PowerPoint is a great tool for learning, but
watch out for triple "P!"

Once you start your voyage, don't forget to look back and ask yourself: "Is
this making me a better teacher?" If the answer is no, see if someone else in
your building can use your equipment. Technology is a lot of things, but it
shouldn't take the place of well-polished traditional methods of teaching and
learning. It is meant to enhance teaching and learning.
Designing A Website For Your Class

It's apparent that there seems to be a rush for people to design a personal web
page for all sorts of reasons. Educators are challenged more and more to create a
web page to keep current with what's happening in the world of technology and
teaching. If you check just about any school district, you'll see that at least two or
three of their teachers have web pages. But is it worth the time? Is it difficult to
create? Are there any risks involved? Most importantly, is it educationally beneficial?

A beginner, making a web page, will need to put in a minimal number of hours to
develop a "simple" web site. But to create a "significant" web site, one that will
ultimately benefit students, a great deal of thought and time is required. Like any
effective teaching plan requiring time and resourcefulness, it is no different when
you create a web site for your students to access. However, if you have an
extensive, well organized plan, the computing part is easy and getting easier
everyday.

A well-designed website will greatly enhance communication between you and your
students. Students will feel more at ease knowing that they can contact you when
school is not in session. One of the great benefits of a website is the increased
communication between you and the parents of your students. This means of
communication also allows parents an easy way to stay in contact > with school
related issues.

In this tutorial, we will examine free services available to help you make a web page,
the process of designing your own independent site, neat web design add-ons,
creating a newsletter, what should your page should have, and sites that can help
you get started.

There are plenty of free services that give you the ability to design and maintain a
web site for your classes. Some of these services are educator-centered and others
are for just about anybody. The best thing about these services is that they provide
you both with a means for making a web page and provide you with space on an
Internet server (so that you can store your pages on the web and publish it for the
world).

As with anything free, there is a catch. In return for the free tools and web space,
these services post advertising on your web site. The advertising is out of your
control. You cannot choose your own domain name. Let's say you want your web
address to be [Link]. Free services will not support this. If
you are looking to create your own domain name Name Winner is by far the best
way to find out what's available.

You also lose a great deal of creative control because these services use web
layout templates. Your district site will look like the other 40,000 schools on their
services. So much for trying to standout and be noticed.

Educator-Oriented Web Page Services:

1. School Notes-[Link]

[Link] complements school websites by allowing teachers to post school

information on the world-wide-web without worrying about HTML or FTP because
there is no programming required! And best of all, [Link] is a free
community service!

2. [Link]- [Link]

Many educators throughout the world have been contacting us. They have
expressed interest in learning how to create a web site that can be used with their
students. In the true spirit of [Link], we now offer a simple, and most
importantly, FREE method that can be used to create your own personal web site.
 SOME USEFUL INTERNET SITES

Songs and Rhymes

[Link]
[Link]
[Link]
[Link]
[Link]
[Link]

Flashcards
[Link]
[Link]
[Link]
[Link]
[Link]

Clipart
[Link]
[Link]
[Link]
[Link]

Games
[Link]
[Link]
[Link]
[Link]
[Link]