The Language Teacher
06 - 2003
Intercultural Video Presentations
Joyce Cunningham
Ibaraki University
Jim D. Batten
Ibaraki Christian University
Introduction
Video exchanges between countries are certainly not a new phenomenon in teaching circles. References to making class videos can be found in "Tapping Students' Imaginations via Video Projects" (Sagliano & Sagliano, 1997), "So You Want to Be a Star" (Henderson, Lance, & Temple-Imel, 1991), or "The Group Video Presentation Project" (Shinohara, 1997). Presentations are given from time to time at conferences such as "Student Video Recordings: Feedback and Heightened Cultural Awareness" (McGrath, 1998), or "Video Production as Mission Impossible" (Morris, 2000). However, in this paper, we will suggest how to develop these more fully into collaborative group projects fostering a rich learning environment wherein learners have more opportunities to use English and increase awareness of their culture. In addition, we will discuss how to assess these exciting, student-generated video projects. It is our belief that this project can motivate monolingual classes (Japanese in our case) to use more English because students are accountable both individually and to the group. Participants, working in small teams, are involved more directly in creative decision-making and in the development and organization of self-directed ideas into a tangible, final product for a real target audience.
The objectives of this activity are for small groups to choose, present and film aspects of their own culture. Selected clips of previous class-made productions (borrowed or kept) are useful to introduce the project. Aspects of superior productions can be pointed out, and groups can compare effective points and mistakes made. A tentative schedule can be distributed in the first week of the course outlining a week-by-week breakdown of steps, objectives, and deadlines for the project.
The procedure for making a class video is fairly flexible and can vary in complexity according to experience and time available. Steps and components can be simple or more elaborate. This project can last a whole semester of fifteen ninety-minute classes or be limited to approximately six to seven ninety-minute classes if fewer components are included and tightly organized schedules respected. With regards to basic procedure, some initial brainstorming for topics related to the culture of the students' country should be done. Usual choices include festivals, food, fashion, traditional sports, lifestyles, and so on. Once classmates have discussed ideas in similar interest groups, they hand in a short written outline of the team's proposal, approximately one page in length. This first assignment helps learners to focus on their video, which of course can be modified later upon negotiation with the teacher.
Then there is the portfolio, a useful tool to evaluate efforts of both the group and each member of the group. It should be explained in the first class what items should be included in the portfolio, such as progress reports, flow charts, group notes, dialogues, evaluations, and final project analyses. Examples of previous portfolios not only give students clear ideas of information to be collected, but also show the expected quality of work. A portfolio can be either simply constructed of entries loosely put together, or it can be more highly organized into a detailed binder. Depending on the level and objectives of your class, source materials, emails, and a bibliography can likewise be inserted. When the portfolio is returned, it can be discussed with the students.
At this stage, several problems can arise due to lack of vocabulary, of knowledge of the students' own culture, or of ability to use computers for research. All too often, students may not feel able to express their ideas adequately for the production (Shinohara, 1997), or may have only a superficial knowledge of their traditions. Sigler & Ockey (1999) state that it is important to fill these gaps in order to "provide the students with appropriate language support to complete the tasks and have freedom to say what they wish" about their culture (p. 13). It is helpful for students to make a vocabulary log of topic-specific words and expressions needed for discussions. Pertinent vocabulary gleaned from the web or elsewhere in the background study can be shared and filed in the portfolio.
Two books that we have found can also assist in expanding students' knowledge of their own country. Explain Yourself: An English Conversation Book for Japan (1982) features full-page drawings on such topics as temples, festivals, sushi shops, etc. The illustrations are thought provoking and learners soon realize that they need more background research. Groups can be given time to read and report back on unanswered areas. The second book, Japanese Cultural Encounters and How to Handle Them (1994), describes different social situations in Japan and asks the reader to choose the best of several options. Small groups can discuss the options and explain why one is more socially acceptable than others. These situations can be used as role plays for students to discuss cultural issues with "foreigners." Such books heighten students' awareness of culture and often motivate them to email similar queries to the participating country (discussed in more detail below).
As soon as data from the background studies is completed and shared orally, groups can decide on main ideas and some details, sufficient for approximately five minutes of filming. Pertinent information should be collected in note form, and included in the portfolio. Decisions about props, music, locations for filming, etc., can be made as well.
Optional Activities
At this point, there are a couple of options for the class, depending on resources and time available.
This component introduces students to their audience in another country. This activity renders the whole video project much more real, especially when exchanging digital pictures. It involves learners directly with the exchange class and motivates them to find out more about their new friends. It heightens curiosity about the new culture and people, and often brings about some truly delightful discoveries.
For example, our email correspondence with Professor Nathalie Rivard and her class in Dubai consisted of a minimum of two to three paragraphs exchanged at least three times a week over a six-week period. Since our goal was not to improve academic writing but rather to involve learners in the other culture and to encourage them to disclose information about themselves, we considered this quite successful. The length of correspondence was verifiable because copies were BCC-ed to us. We interacted with occasional comments and praise but, more importantly, we were able to show where ideas could be elaborated.
While exchanging letters, students' details and plans gradually unfold, creating in learners a concern with doing at least as well as their new friends. Incredibly, students in Dubai went to great lengths to rent a helicopter to fly over their college and film it. This news astounded Ibaraki students and pushed them to redouble their efforts. Email is particularly enriching because, as mentioned above, students often do not know their own culture in much depth and are not very aware of differences or similarities. Email provides an opportunity to question exchange partners about ideas for filming and gives immediacy to the whole project. Hoelker (2000) states, "Students remain sustained by [the] excitement of exchanging opinions with overseas peers & the promise of being witnessed by [an] international audience of peers" (p. 4).
Storyboards
Another optional component of the video exchange is that of storyboards: simple student-made drawings of scenes in each production. This useful technique especially involves learners with heightened visual-spatial abilities. Storyboards focus on the general physical context to be created and on reasons for planned scenes. Storyboards encourage teams to decide how each scene can be broken down into shorter, more dynamic sections for, more often than not, unplanned scenes are lengthy and boring to the viewers. They are also helpful in limiting learners to key words, thus avoiding students becoming bogged down in grammar, vocabulary, and so on (see Balsamo, 1997, p. 4). Camera location, position of actors, and timing are noted. Displaying artistic talent is not a primary objective here but often, individual illustrations are a source of curiosity and fun. Finally, this kind of task bolsters the confidence of less fluent students allowing them to shine brighter through pictures as well as words.
It is worthwhile modeling storyboards first by selecting a movie with short, dynamic scenes such as The Wizard of Oz (see Appendix). Examples such as this will show how groups can discuss and draw concepts themselves, decide on key words, props, positions of the actors and camera, and so on.
Production
At this stage, dialogues for the final production can be created. A decision must be made as to whether to memorize a script or make group notes. The latter is quite feasible if, previously, one or two brief role-plays have been practiced and filmed. This lessens pressure on learners in front of the camera and familiarizes them with its use (for more details, refer to Cunningham, 2000).
Secondly, if fluency is emphasized over accuracy, learners will be more motivated to communicate meaning (Almond, 2002). From the outset, establish clearly that each production should consist of a ratio of two-thirds group-made conversation to one-third narration. This challenges everyone to understand and discuss material in more detail to make the dialogue in their own words. Another rule of thumb is that all have equal time in front of the camera.
Periodic written/oral progress reports are required. These can be no more than a few sentences at the end of class, or longer, if assigned as homework. Such confidential reports ask learners to reflect on overall objectives, work accomplished during class periods, time management, stumbling blocks, and group dynamics. It is especially important to account for how much English is being spoken each day not only in the group but individually as well. Insights provided by these details are invaluable to monitor and evaluate progress constructively. Later, such reports help to assess the work of the group and its members when giving final marks in the portfolio.
Rehearsals are another effective evaluative tool for students and teachers alike. Both dialogue preparation and final practices are taken more seriously if students say their lines in front of the teacher (the first taste of a real audience). During rehearsal, constructive ideas and small errors in positioning, filming into the light, poor delivery, etc., can be pointed out. As well, rehearsals permit the instructor to give healthy doses of praise to increase self-confidence just before the cameras roll. Several teams may finish at the same time. If this happens, projects can be performed to another group. A final benefit of rehearsals is that slower groups have more time to complete their productions.
Eventually, cameras must be reserved and a schedule organized. Depending on your situation, students may be filming in or out of class. If filming outside your institution, a word of caution: In commercial establishments, permission should be attained before shooting. After filming, it is only natural that groups are eager to watch their productions. While viewing, they evaluate strong and weak points and decide if scenes need to be re-filmed. Sagliano and Sagliano (1997) believe that "video playback allows both self-reflection on their performance as well as immediate peer and teacher feedback" (p. 4). Next, learners choose between standard dubbing or editing their video on a computer, if using a digital camera. Of course, in video editing, sufficient RAM and hard disk space are imperative. The length of each group production must be strictly adhered to--no longer than five minutes, especially when titles, background music and voice-overs are inserted. Music can be selected to enhance the production but not just as "filler" or dead space. Limiting music to background instrumental or an appropriate verse from a given song in English can enrich the project. This motivates students to listen closely to words of songs likely to capture the mood they want to convey.
Especially important is a final report wherein experiences, performances, learning, strengths and weaknesses, amount of English used, and other details are reflected on and evaluated. Individual and group experiences should be discussed and reviewed therein. Students should also evaluate their own personal involvement, attitudes and what they brought to the project personally. One student wrote: "From this video project, I learned how important cooperation is. Of course, I really worked hard by myself but this achievement couldn't be without the others in the group. I really understand this now."
Once productions are sent off, and while waiting for the exchange video to arrive, watch your own final videotape. Students really love this step and it is one of the high points of the class year. Evaluations can be left temporarily aside to let students simply enjoy their efforts or each project can be reviewed while waiting for the cooperating school's video. This is not really evaluation . . . at this point . . . but rather watching each production and talking about the ideas it brings to our attention.
When, at long last, the exchange video arrives, it should be evaluated. Both classes judge and vote on the best three groups in each country for an Academy Awards ceremony. After viewing, ideas are discussed in small groups and comments written down on evaluation sheets. A lot of excitement is generated in this mutual assessment. For once, learners are processing real information that has not come from the teacher. Together, students discuss and rate strong and weaker points, clarity, conversations among group members, speaking without prompter sheets, or other things they noticed, and then give an overall rating. As Fowle (2001) notes, "If the project can be displayed/given an audience when it is finished this will give students a sense of pride in their work and build their confidence in using English" (p. 32).
We believe that the evaluation process during the project can be as educational and challenging as the production itself and indeed, will motivate students to reflect and focus on their progress in English. Finch (1999) writes in "The Task-Based Classroom in Practice":
"When tasks are the means of learning, the target language takes on meaning . . . . [S]tudents have a reason for learning. They can see that the new language is a means of communication and that they need to be able to transfer information and opinions in that language, i.e., teaching through communication rather than for communication." (p. 181, emphasis in original)
To this end, learners collaborate actively with one another and with the teacher from the initial brainstorming sessions through to the final production. Although, in the beginning, some discussions may be partly in the native tongue, interaction is purposeful and centred on readying information in English. After each class, students have jotted down the amount of English they and their group used that day. Their notes and reports with teachers and peer feedback all form part of the portfolio and can be referred to during formal and informal evaluations. Teams have viewed, discussed and evaluated their own productions, then those of other groups, and finally, the comments from the cooperating school abroad. In deciding the winners of the Academy Awards, there is yet another opportunity to actively reflect on not only the English used, but also all the various components of effective communication.
Conclusion
The future of such video exchange productions? First of all, we hope that teachers will join the International Video Exchange group. We believe that teachers will recognize that students can gain confidence and pride in having worked in small groups independently and responsibly in the target language for a real world task. We hope that teachers will reach out and collaborate in developing new cross-curricular focuses through such activities and use of media. Certainly, digital cameras will become cheaper and students increasingly familiar with them. Projects will soon be copied and sent on DVDs. High resolution video streaming is still a little further down the road but, eventually, exchange partners will simply view productions on the web. Commercial video editing programmes will, in turn, become cheaper and easier to use. Already such programmes as I-movie2 for Macs and Video Studio for PCs are quite user friendly. More students will learn to use these, resulting in better visual quality (transitions and special effects) as well as background music and voice-overs. These are truly exciting times with exciting technology waiting to be exploited in inventive ways.
Useful Materials
iMovie2 2.0.3 [Computer Video Editing Software]. (1999). Apple Computer, Inc.
Kataoka, H., & Kusumoto, T. (1994). Japanese cultural encounters and how to handle them. Lincolnwood, IL: Passport Books.
Nicholson, P., & Sakuno, R. (1982). Explain yourself: An English conversation book for Japan. Tokyo: Yohan.
Video Studio. [Computer Video Editing Software]. (2001). Ulead Systems Inc.
References
Almond, M. (2002). Curtain up. English Teaching Professional, 22, 13-15.
Balsamo, W. (1997). From silent films to written words (Part II). Video Rising, 9(2), 3-6.
Cunningham, J. (2000). We've got it on video tape!!!" Studies in Communication: Bulletin of the Faculty of Humanities, Ibaraki University, 8, 1-22.
Finch, A. (1999). The task-based classroom in practice. Proceedings of KOTESOL PAC2. Korea: Seoul. 179-190.
Fowle, C. (2001). Creativity through project work. ThaiTESOL Newsletter, 14(1), 32-36.
Henderson, S., Lance, J., & Temple-Imel, G. (1991). So you want to be a star. In H. Palmer (Ed.), The best of Video Rising: Fifth anniversary special edition (p. 5). Tokyo: JALT Video Special Interest Group.
Hoelker, J. (2000, November). International email exchange motivates students. Handout of paper presented at JALT 2000, p. 1-4.
McGrath, K. (1998, October). Student video recordings: Feedback and heightened communicative awareness. Paper presented at the annual conference of Korea TESOL. Seoul, Korea.
Morris, B. (2000). Video production as Mission Impossible. Paper presented at the TESOL 34th annual Convention, Vancouver, Canada.
Sagliano, J., & Sagliano, M. (1997). Tapping students' imaginations via video projects. Video Rising, 9(3), 4-7.
Shinohara, Y. (1997). The group video presentation project. The Language Teacher, 21(7), 39-40.
Sigler, S., & Ockey, G. (1999). Contextualization in long-term role-plays. The Language Teacher, 23(4), 13-16.
Joyce Cunningham is Co-Coordinator of the English language program in the Department of Communication Studies at Ibaraki University. Jim D. Batten is Professor and Chair of the Department of British and American English at Ibaraki Christian University.
Appendix 1
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