This book presents the views of a group of teachers, trainers and researchers, all of whom share the belief that creativity needs to be an intrinsic aspect of English Language Teaching

This book presents the views of a group of teachers, trainers and researchers, all of whom share the belief that creativity needs to be an intrinsic aspect of English Language Teaching. The first group of papers by Alan Maley, Chaz Pugliese, Michela Formosa, Sarah Zammit and JJ Wilson underscore the vital importance of creativity’s place in the classroom, especially since it is a fundamental component of a broad range of human activities, foremost amongst which is language use. 

The papers by Antonia Clare, Maria Cutajar, Sarah Cutajar and Stephanie Xerri Agius discuss how a culture of creativity can be cultivated in the classroom through the amalgamation of creative and critical thinking, and the mind shift experienced by teachers when they position themselves as creative practitioners. 
Rebekka Mamo, Alan Marsh, Jean Sciberras, Candy Fresacher and Nicky Hockly illustrate how the use of literature, poetry, art, advertising and mobile devices respectively can act as a means of spurring learners’ creativity. 
The next group of papers by Michael McCarthy, Jeanne McCarten, Kevin Spiteri, William B. Laidlaw, Justyna Rogers and Patricia Vella Briffa explore different language systems and skills, reminding us that language use is perhaps one of the most common creative feats that learners engage in. 
The final set of papers by Jean Theuma, Larissa Attard and Steve Flinders examine two different language learning contexts, both of which require a high level of communicative ability on the part of learners. The value of creative practices in language learning and teaching is applicable to such contexts and many others.
The essential role of a teacher is to help learning to happen. For this to be done, a teacher
plays certain roles. One popular role is teacher as facilitator. This role is crucial because, when
learning takes place, students are basically being engaged with problems. Therefore, teachers
need to create an environment conducive for their students to learning. Unfortunately, in playing
such a role, a teacher is not always successful. One thing worth taking into account is creativity.
It is fair to say that creativity is an important factor in achieving success, including success
in English language teaching/ELT. As a foreign language, English is neither easy to learn nor
to teach. English teachers need to be creative in an effort to create an environment for their
students to learn in. This paper highlights the significance of teacher’s creativity in English
language teaching, suggesting approaches to the development of teachers’ creativity, and sharing
examples of classroom practices, notably the expression of creativity in ELT, based on the author’s
own teaching experience, research career, and teacher training, as well as workshop-tours.
The author’s interest in teachers’ creativity was triggered by his noticing that most of the
participants in his teacher training and workshops had very limited insights into ELT
methodology, classroom activity, media, and resources. For example, a talk about the use of
games in English classes often provoked an argument. Some trainees strongly disagreed with the
use of games in English classes because it was time-consuming. Later discussion and feedback
opened their eyes to the relevance of games in a classroom situation. It seemed that their attitude
had been generally rooted in ignorance due to low motivation in nurturing professional
development. In peer teaching sessions of in-service teacher training, the activities the trainees
brought to the class predominantly involved merely listening to the teacher. Most pre-service
teacher training students who had had teaching practice at schools voiced issues consistent with
this upon returning to campus
The essential role of a teacher is to help learning to happen. For this to be done, a teacher
plays certain roles. One popular role is teacher as facilitator. This role is crucial because, when
learning takes place, students are basically being engaged with problems. Therefore, teachers
need to create an environment conducive for their students to learning. Unfortunately, in playing
such a role, a teacher is not always successful. One thing worth taking into account is creativity.
It is fair to say that creativity is an important factor in achieving success, including success
in English language teaching/ELT. As a foreign language, English is neither easy to learn nor
to teach. English teachers need to be creative in an effort to create an environment for their
students to learn in. This paper highlights the significance of teacher’s creativity in English
language teaching, suggesting approaches to the development of teachers’ creativity, and sharing
examples of classroom practices, notably the expression of creativity in ELT, based on the author’s
own teaching experience, research career, and teacher training, as well as workshop-tours.
The author’s interest in teachers’ creativity was triggered by his noticing that most of the
participants in his teacher training and workshops had very limited insights into ELT
methodology, classroom activity, media, and resources. For example, a talk about the use of
games in English classes often provoked an argument. Some trainees strongly disagreed with the
use of games in English classes because it was time-consuming. Later discussion and feedback
opened their eyes to the relevance of games in a classroom situation. It seemed that their attitude
had been generally rooted in ignorance due to low motivation in nurturing professional
development. In peer teaching sessions of in-service teacher training, the activities the trainees
brought to the class predominantly involved merely listening to the teacher. Most pre-service
teacher training students who had had teaching practice at schools voiced issues consistent with
this upon returning to campus
The essential role of a teacher is to help learning to happen. For this to be done, a teacherplays certain roles. One popular role is teacher as facilitator. This role is crucial because, whenlearning takes place, students are basically being engaged with problems. Therefore, teachersneed to create an environment conducive for their students to learning. Unfortunately, in playingsuch a role, a teacher is not always successful. One thing worth taking into account is creativity.It is fair to say that creativity is an important factor in achieving success, including successin English language teaching/ELT. As a foreign language, English is neither easy to learn norto teach. English teachers need to be creative in an effort to create an environment for theirstudents to learn in. This paper highlights the significance of teacher’s creativity in Englishlanguage teaching, suggesting approaches to the development of teachers’ creativity, and sharingexamples of classroom practices, notably the expression of creativity in ELT, based on the author’sown teaching experience, research career, and teacher training, as well as workshop-tours.The author’s interest in teachers’ creativity was triggered by his noticing that most of theparticipants in his teacher training and workshops had very limited insights into ELTmethodology, classroom activity, media, and resources. For example, a talk about the use ofgames in English classes often provoked an argument. Some trainees strongly disagreed with theuse of games in English classes because it was time-consuming. Later discussion and feedbackopened their eyes to the relevance of games in a classroom situation. It seemed that their attitudehad been generally rooted in ignorance due to low motivation in nurturing professionaldevelopment. In peer teaching sessions of in-service teacher training, the activities the traineesbrought to the class predominantly involved merely listening to the teacher. Most pre-serviceteacher training students who had had teaching practice at schools voiced issues consistent withthis upon return Before going any further, it is better to discuss what is meant by teacher’s creativity here.Creativity itself is actually a complex notion. It depends upon the ability to analyze andevaluate situations and to identify novel ways of responding to them. This in turn dependsupon a number of different abilities and levels of thinking. That is why, a teacher’s creativitycan inspire other teachers. However, two creative teachers may do the same thing in differentways.It is interesting to discuss what characterizes creative teachers. Creative teachers are insome ways similar. Richards in his online article mentions that creative teachers possess thefollowing qualities: (1) creative teachers are knowledgeable; (2) creativity in teachers requirestheir possessing confidence; (3) creative teachers are committed to helping their learnerssucceed; (4) creative teachers are non-conformists; (5) creative teachers are familiar with avariety of strategies and techniques; (6) creative teachers are risk-takers; (7) creative teachersseek to achieve learner-centered lessons; (8) creative teachers are reflective.With regard to those qualities mentioned above, here are the author’s brief personalopinions. Creative teachers learn a lot from a variety of sources. With all their knowledge andefforts, they tend to enjoy trying out ideas in the class to help their students learn better. They donot feel worried about being different from what other teachers think or do, or – borrowing theterm used in a classic work of Postman & Weingartner–”teaching as a subversive activity”.They enjoy looking back at their own teaching practice, such as from notes (teaching journals),students’ feedback (usually by getting them to scribble on a piece of paper, or questionnaires),video-recording, or colleagues’ feedback (through observation).From the discussion above it could be inferred that pre-service English teacher programsalone are not enough to generate creative English teachers. According to Brewster (2007) afew problems in initial English teacher education include: 1) an insufficiency of suitable trainingmaterials; 2) an inappropriate theory-practice balance; 3) trainers who are not sufficientlyexperienced in ELT; 4) insufficient demonstration, too much lecturing, too little participation;and curricula which are out-dated and out-of-touch with current world developments.In addition to in-service teacher training, within their teaching career participants are alsoexpected to continue with professional development, such as by actively taking part inworkshops and conferences, extensively reading professional journals and proceedings in thefield, and seriously participating in the events held by professional organizations. As far as theauthor is concerned, the teachers of English are weak in this matter, especially in their use ofresources and participation in professional forums. The majority of them do not enjoy readingbooks and lack familiarity with journals and proceedings. Neither are they encouraged to attendprofessional development training forums and workshops. Often teachers attend forums merelyfor the sake of obtaining a certificate!Journals and proceedings are superior to textbooks. Recent research findings and creativeand innovative ideas are shared in journals, proceedings, as well as professional forums. Updatedinformation contained in them could be very valuable and inspirational to teachers of English.Teachers’ common excuse relates to the unavailability of text-books in the first year of thecurrent curriculum implementation in this country; a situation conditioned by a lack of
3ISSN: 2597-4 319SuwartonoInternational Seminar on English Language Teaching (ISELT 2016) Page 1 -8resources and access to information rich media. Only creative teachers could have survivedwithin such a scenario, as they could perform equally well with or without standardized material.Like journals, conferences and symposiums are very valuable resources or accesses to thedevelopment and sharpening of teachers’ creativity. For example, a university teacher ofEnglish shared her research finding. In her collaborative work with a colleague she conducteda team teaching and learning in her English class. She was very happy with her students’response to the team teaching and learning. Eighty-five per cent of the students stated thatthey preferred a class taught by a team having two members who were always present in theclass instead of a team whose members come in turn. She was also excited to see the fact thatwith team teaching that adopted the Oral Presentation Approach both students and teacherswere encouraged to collaborate amongst themselves, especially within their own groupscognitively – in getting knowledge by discussing the assigned readings, affectively – indeveloping empathy and friendships, and psychometrically – in preparing power points andoperating the computer and LCD during the oral presentation. The teachers could share ideasand experiences, especially during the discussion after the students’ presentations – which isactually the essence of team teaching.Conferences and symposiums often include workshops given by some of the delegates.The practical experiences shared in these events are valuable and could be inspiring to otherteachers of English. For example, one teacher shared an experience of innovative andeffective strategies for teaching English. The teacher explained how to create a classroomclimate in which students were eager to take risks and practice a new language. Or, a workshopgiven by another teacher who explained how to select/design/adapt/ materials and interactiveactivities to make students better motivated through imaginative, creative, and innovativeteaching techniques suitable for productive learning.Creativity in ELT can find itself expressed with regards to methodology, media, resources,material, classroom activities, or in some combination these. Nowadays, with the rapidadvancement in ICT, teachers are challenged to make use of computer and internet in ELT.Research has reported that English teaching and learning has become more practical,“appetizing”, efficient, and effective with technology. However, it requires a lot of open-mindednessand curiosity in the part of teachers. Besides open-mindedness and curiosity, at times, creativityneeds imagination and/or problem-solving skill too. The following are actual, more detailedexamples of teacher’s creativity in ELT.First of all, the use of dubbing to help students learn English sounds. Teachingpronunciation using drills so far has not been fruitful. Even though during the teaching andlearning process student involvement was apparent, in fact, the learning outcome was less thanwhat was expected. It seemed that a new, more subconscious teaching technique wasnecessary to help them learn.The author considered the using film dubbing, similar in form to karaoke in music, as away of indirectly getting students to develop phonic skills. Within the context of dubbing, theindividual was to memorize and concentrate on the verbal and non-verbal behavior of the filmartist whose voice he/she was dubbing. The process required a degree of reflection in that the
4International Seminar on English Language Teaching (ISELT 2016) Page 1 -8ISSN: 2597-4 319 TEACHER’S CREATIVITY IN ELTdubber was to produce “professional” voice – one sounding like that of the original speaker.The “Dubbing Group” students learned in a fun and exciting context which resulted in theirdeveloping better pronunciation skills, even though statistically the result showed insignificantdifference compared to that of “Drill Group” students.On another occasion, the author employed songs as media to help students learn Englishconnected speech. Connected speech is an important aspect in the pronunciation of English.Mastering this aspect will not only improve the speaker’s’ fluency and give positive impressionof the speaker to the listener, but also help him/her comprehend the overall language better.In relation with English connected speech, the writer considered that songs could be quitehelpful. One argument is that some songs, different from films, are so slow that recognizinghow the words flow becomes easier. Beat in songs and music in general makes it possible forspeech to be easier to apprehend in spite of the speed of the speech. Initially inspired by thispart “And I...” of a song entitled will always Love You, as a teacher the author selected andexplored some songs material for this purpose.The students taught English connected speech have benefited from the use of songs as theteaching media. Their perception toward the lesson was better than that of ‘Drill’ Groupstudents. The rates were 70.8% for “Song Group” students and 59.5% for their counterparts.According to the open-ended questionnaire, students ‘impressions toward the use of mediawere likely to make up around 57% of the total feedback given by the Song students. Based onthe statistical analysis, the gains of both sample means were,however, insignificant.Another example of teacher’s creativity is shown in the following collaborative work. AnEnglish teacher of a private vocational school in a district in central Purwokerto came by toconsult her students’ motivational problems when following English ‘structure’ lessons. Shecomplained that her students were passive, while structure was predominantly taught in theschool subject.With regard to student poor participation, the author suggested the use of songs asalternative media to promote the students’ participation in the class. The use of media candevelop student learning interest and motivation. With adequate learning interest it can beexpected that student participation is not just class attendance. The students will have enoughenergy to avoid giving negative response to classroom activities. Songs have rhythm andauthenticity. These features in songs present fun to the listeners. When students feel excited tolearn, their learning participation develops.As authentic material, songs motivate the listeners to repeat the lyrics either wholly orpartially. Furthermore, song lyrics contain samples of language in use, including sentencepatterns. Let us consider, for example, the expressions‘I don’t wanna see you crying’, or ‘I’llnever let you go’. Within its context such an expression can be brought into the classroomwhen a teacher intends to introduce the sentence patterns that use verbs of senses and specialverbs like let, make, etc. Sari (2009) points out the power of songs for teaching the grammar ofa language.The collaborative work has indicated a positive effect of the intervention implemented inthe lesson. Based on the data analysis, there was a trend of improvement in both student
5ISSN: 2597-4 319SuwartonoInternational Seminar on English Language Teaching (ISELT 2016) Page 1 -8learning participation as well as achievement.The next example might be the greatest instance of creativity evinced by the author in theteaching of English pronunciation. Suprasegmentals, such as stress and connected speech, areworthier of attention mainly because these features contribute heavily to intelligibility inspoken English and convey better impression of the speaker (O’Neal, 2010). Apart from thesignificance of these features, several problems emerged during the author’s pronunciationteaching: uninteresting lesson, lack of listening-to-model activity prior to production practice,greater portion of teacher’s talk, and too much drill.In an effort to solve the problems, reflective learning method with video as a reflectivetool incorporated into oral communicative language activities was adopted. Reflectivelearning with video was hoped to enable the students to self-monitor and self-evaluate theirown speech performance. They were able to modify their behavior accordingly, either inisolation or with support of teacher and/or peers. Facial expressions and gestures that oftenaccompany accented utteranceswereof special interest to students. Students’ pronunciationclass activity during the lesson covered rehearsing monolog or dialog, video recording,replaying, and revising. In this way, the students could be motivated to learn by internalrewards, such as increased self-esteem and a sense of accomplishment. Above all, the methodcould be done autonomously by the students outside the classroom.An outside class pair-work conversation recording made by two very weak students onone occasion, for example, contained mostly accented and connected utterances of English.On another occasion, another couple of students even managed to use intonation, stress, andconnected speech almost perfectly through their outside class conversation video clips. Withthis improved use of intonation, stress, and connected speech, most students’ pronunciationof English was to some extent no longer strong in Indonesian or Javanese accent. Theirutterances in monotones were ameliorated; meanwhile, melodies of varying kinds becamemore often heard, with rising and falling intonation. In other words, the students’pronunciation to some degree sounded “more English”/foreign-accented.Some writers argue that writing cannot be taught. It can only be learnt. Others arguethat agood writer is one who is a good reader. In fact, the experience of teaching academic writing isfelt to be the most challenging and energy-consumingwork by the author. Initially, theacademic writing class had begun with a presentation of patterns and dictions/terms/phrasesmost commonly used in academic writing. When writing activity began students showed nopositive response to it. When given chance to ask questions, they tended to keep quiet. Whenthey were being monitored or their writing product was evaluated, almost nothing or very littlewas written. They just found it hard to get started, let alone to write properly.To solve the problem above, an academic writing class that offered relevant activities,minimized teacher’s domination, provided students with greater opportunity to write, andencouraged them to get involved in writing activity was required. As UNESCO (2001) writes,“People learn best when they are directly involved in all aspects of their learning”. In line withthat, Dryden and Vos (1999) makes the point that most complex knowledge can be bestabsorbedand memorized by learners if they learn with full involvement.
6International Seminar on English Language Teaching (ISELT 2016) Page 1 -8ISSN: 2597-4 319 TEACHER’S CREATIVITY IN ELTThe author this time tried out a teaching model named social inquiry, which is suggested foruse in the social studies. This teaching model gives an emphasis on problem-solving. Anothercharacteristic is the open climate of discussion. Students are provided with an opportunity ofmaking use of most possible sources in/outside schools. In the context of ELT, this teachingmodel is expected to help students inquire about or search for facts about academic writing,including its corresponding linguistic dimensions, and then communicate the results of theinquiry within the classroom. There came an idea to give students a project-based and librarywork assignment. The students, in pairs, were asked to write an article based on theirmini-project and writing task as if they had been an author and a co-author. They were invitedto make a presentation and receive feedback from peers and teacher.Through such a teaching and learning process, writing lesson was no longer tiring andtime-consuming to either students or teacher, at least in the classroom. One clear, powerfulimpact of this social inquiry teaching model on the academic writing teaching course was thatthe students seemed to get involved in the class activity. Was it because they learnt by doing?The next example of creativity in ELT was based genuinely on the author’s ideas andexperiences as a teacher, and partly on his survey. An example of common poor ELT practiceis a reading comprehension class in which the teacher gets the students to produce oral orwritten answers to a series of ‘wh’ questions that follow a reading passage. It is too demanding,as reading comprehension is receptive, so students should not respond far beyondcomprehension. It is enough for­­­­­­­­ them to show a choice among options provided. When thechoice is right then it is assumed that the students comprehend the text. In a classroomteaching and learning context, this even could be simplified by modifying the options-basedtest item in such away that students find it appealing.Many language learning activities, mainly those related to receptive language skills andknowledge, can be presented using options-based tasks. Generally speaking, with optionsstudents have choice. With choice they feel secure. The first type of modified options-basedtask is the multiple-choice technique. With this technique, the teacher helps students get theright answer (e.g. search for meaning of new words in authentic materials) by providing thestudents with options that include both key and distracters they are already familiar with. Bydoing so, the teacher helps the students attend to meaning without telling them directly. Thissomehow supports inquiry learning.Other modifications of objective test items for classroom ELT are possible. While,normally, matching test items are presented complete with distracters (B list is longer than Alist) in tests, for classroom teaching and learning purpose the matching test item isintentionally presented without distracters(A list is the same in length as B list) to attractstudents to complete tasks. With this matching technique, the students spontaneously drawlines connecting entries within both lists. Included in this technique are completion exercise inwhich options are provided in the box, identifying pictures while listening, and sticking labelsunder pictures. What might be matched might include synonymous words, antonyms, wordsand definitions, words and pictures, etc.On a smaller scale, there are other examples that reflect the teacher’s creativity in ELT. To
7ISSN: 2597-4 319SuwartonoInternational Seminar on English Language Teaching (ISELT 2016) Page 1 -8raise students’ interest in learning pronunciation, the author has once in a while used a gameillustrated as follows:1. Two groups of five to seven students are asked to stand in line (usually through classroom aisles).2. The two “head” students are asked to listen (using the headset) to the speaker on therecording at the front.3. The two groups compete by trying hard to whisper the word heard by the head studentacross the members to the tail student.4. The competition is scored on the basis of speed and/or accuracy.It has always been exciting and challenging. Quite often the author should wait a minutebefore proceeding with the next step.Since too many to mention here, the last example is derived from the author’s experienceas a certified TEFL TESOL Trainer of Trainer. As a variation, when introducing descriptivetexts, once in a while the class was challenged to go through a cooperative learning. Tools/aids/media, namely several pieces of large drawing papers, color markers, and copies of texthad been prepared. The class was split into groups of 3 – 5 students. Each group was given acopy of text, a paper, and markers with different colors. It was timed. They drew a picture afteror while reading the text. On completion of the task, the picture was stuck on the wall neartheir joining seats. Usually, a little noise and laughter broke down at this point. Two or threemembers of each group with notes should leave to visit “neighbors” for information sharing.Quite often, they were involved in debate and managed to settle it when referring to the text.Reading comprehension and speaking were supposed to develop well and excitingly this way.All domains in individuals were supposed to be activated!To sum up, overall, our teachers of English are not/less creative. Here are somealternative suggestions for this condition:1. Teachers’ creativity in English language teaching is important in order to help the studentslearn better.2. Some important words/phrases related to teachers’ creativity are knowledgeable,confident, experimenting, imaginative, open-minded, curious, problem-solving.3. Teachers of English should develop and sharpen their teaching creativity by nurturingtheir professional development.4. Teachers of English should familiarize themselves with journals or periodicals and readthem a lot to explore information or insights into and development of recent ideas andresearch findings.5. Teachers of English should actively take part in conferences, symposium, seminars, trainings,and workshops. Such activities open the opportunity for or accesss to direct and intensedcommunication with better experienced colleagues as to obtain practical ideas andexperiences.6. Practical experiences have been shared in this paper. These could be inspiring and are, ofcourse, subject to adjustment.
8International Seminar on English Language Teaching (ISELT 2016) Page 1 -8ISSN: 2597-4 319 TEACHER’S CREATIVITY IN ELTREFERENCESBrewster, J. 2007. “Issues in Pre- and In-Service Teacher Preparation”. Primary InnovationsRegional Seminar (A Collection of Papers). Hanoi: British Council.Diptoadi, V. et. al. 2009. Becoming a Creative Teacher: a Manual for Teaching English toIndonesian Elementary Students’.Ihsan, D. “Team Teaching and Learning: a Collaborative Strategy and Creativity in ELTL”.International Conference on 56th TEFLIN.Krzeszewski, L.B. 2010. “Innovative and Effective Strategies for Teaching English”. 6thCamTESOL: Conference on English Language Teaching. Cambodia.Nurhayati. 2009. “Developing English Skills through Songs and Music”. The 2009 UAD TEFLNational Conference (Proceedings).O’Neal, G. 2010. “The Effects of the Presence and Absence of Suprasegmental on theIntelligibility and Assessment of an Expanding-circle English Listeners. JAIRO (JapaneseInstitutional Repositories Online).Postman, N. & Weingartner, C. 1969. Teaching as a Subversive Activity. New York: DellPublishing Co. Inc.Richards, J.C. & Lockhart, C. 1996. Reflective Teaching in Second Language Classrooms.Cambridge: Cambridge University Press.Scrivener, J. 2nd edition. Learning Teaching: a Guidebook for English Language Teachers.Macmillan Books for TeachersSingh, V. 2010. “Engaging the Learners in Productive Learning: Some Pedagogical Gateways”.CELCSymposium. Singapore.Suwar tono. 2006. “Pembelajaran Pelafalan bahasa Inggris melalui Teknik Sulih Suara”.Cakrawala Pendidikan: Jurnal Ilmiah Pendidikan. Vo. 25, No. 1.Suwartono. 2008. “Dependent upon Teacher’s Creativity”.GLoCALL 2008 - Indonesia:Globalization and Localization in CALL. Yogyakarta, IndonesiaSuwartono. 2012. “Songs Helped them Learn the English Connected Speech”. InternationalConference on English Language and Literature (Proceedings). Hyderabad, India.Suwartono. 2007. “Peningkatan Keterlibatan dalam Perkuliahan Scientific Writing MenggunakanModel PengajaranSocial Inquiry”. Jurnal Ilmu Pendidikan. Vol. 14, No. 2 (indexed in DOAJ,2016)Suwartono. 2014. “Enhancing the Pronunciation of English Suprasegmental Features throughReflective Learning Method”. TEFLIN – Teaching English as a Foreign Language inIndonesia – Journal. Vol. 25, No. 1.Suwartono and Aniuranti, A. 2013. “EFL Teachers and Digital Teaching Media”. InternationalConference on Education, Technology, and Science: Improving the Quality of Educationto Face the Impact of Technology. Universitas Muhammadiyah Purwokerto, Indonesia.Suwartono and Rahadiyanti, D.P. 2014. “The Use of Songs for Promoting StudentParticipation in the Teaching of English Structure”. The 61st TEFLIN InternationalConference 2014(Proceedings) ing to campus Introduction In 2015 the British Council published a collection of chapters on various aspects of creativity. It aimed to raise teachers’ awareness of the key role creativity plays in language education by providing a large number of practical classroom activities at all levels. The volume was titled Creativity in the English language classroom and is still freely downloadable via http://englishagenda.britishcouncil.org/ continuing-professional-development/cpd-teachertrainers/creativity-english-language-classroom. So far, some 40,000 copies have been downloaded worldwide, which seems to testify to the rising interest in creative classroom practices among teachers. This current volume is a follow-up to the first one. Like the earlier volume, it offers practical and creative language teaching ideas. It differs from the earlier collection in one important respect, namely by additionally focusing on the 17 United Nations Sustainable Development Goals (SDGs). What are the SDGs? As a result of the Sustainable Development Summit held in September 2015, world leaders adopted a set of 17 United Nations Sustainable Development Goals (SDGs) with a total of 169 targets. These are designed to end poverty, fight inequality and injustice and tackle climate change by 2030. A complete list of the goals can be found at: https://sustainabledevelopment.un.org/?menu=1300 But why do this? What have the SDGs to do with language teaching? There are several intertwined answers to this question. A growing number of ELT professionals have come to believe that language teachers are more than just teachers of language. Through what they teach and their attitudes and practices, they have an enduring influence on the future attitudes and personalities of their students. As John Dewey put it: Perhaps the greatest of all pedagogical fallacies is the notion that a person learns only what he (or she) is studying at the time. Collateral learning in the way of the formation of enduring attitudes may be more important than the lesson in geography or history (Ed: or language!) for these attitudes are fundamentally what count for the future. There can now be no room for doubt that planet Earth is currently assailed by some potentially lethal problems. The scale of the impact of human intervention on the planet has recently been compared with previous geological periods – and given a name, ‘the Anthropocene’ (see references). The effect of massive industrial and technological expansion, combined with exponential population growth, has put the survival of our ecosystems in jeopardy. Furthermore, as competition for control of resources increases, so too does the potential for conflict, with all its dire implications for humanity. Human impact has increased dramatically, yet human nature has not made comparable progress. Many of our present woes are directly attributable to greed, pride, self-interest, prejudice, aggression, indifference to the plight of others, and the long list of the more negative characteristics of humanity. There are no quick-fix solutions to these problems. But many would argue that teachers have a major role to play in helping to change unhelpful mindsets, and in raising awareness of the problems and issues, rather than continuing to turn a blind eye to them. Hattie’s (2008) research identifies the teacher as the most significant factor in the learning context. And this is particularly the case for teachers of language, who have an inherent interest in the international community. The thrust of this book is also in line with the relatively recent interest in critical thinking and in so-called 21st-century learning. It meshes too with the rising numbers of schools using CLIL (content and language integrated learning), by offering content-related materials to work with. Furthermore, major teacher associations such as IATEFL’s Global Issues SIG, TESOL’s Social Responsibility Interest Section and JALT’s Global Issues SIG, among others, have recognised the importance of these issues. We hope that this book will provide added impetus to these initiatives and will also draw attention to the many projects operating to reduce the negative impact of the areas covered by the SDGs, including the C group. 8 | Introduction As in the earlier publication, we have tried to offer a balanced selection. The 22 chapters cover a wide range in terms of geography – from Greece to Brazil – age range – from young learners to mature adults – language level – from elementary to advanced – and educational context – from private language schools to state schools and universities. Roughly half the contributors are non-native speakers and over half are women. The book opens with a chapter by Carol Read involving all 17 SDGs. Chapters 2–18 cover one, and sometimes more, of the SDGs in numerical order. There are then chapters which deal with one special area, such as extensive reading or storytelling, which can be applied across the range of SDGs and local contexts. The book closes with another chapter, by Averil Bolster and Peter Levrai, which also covers the whole range of SDGs. Though most of the chapters deal with a single SDG, it is clear that there is a multitude of connections between these issues. Climate change has economic consequences, with effects on water supply and food, which in turn have nutritional and health implications, which may lead to mass movements of population, which lead to social unrest … The chain of complex factors has many links. Nonetheless, there are advantages in focusing on single issues, as the UN tried to do in 2015. Clearly, the book is not intended to be read or used sequentially. We hope that teachers will find sections most relevant to their interests and local circumstances and be able to select activities which best serve their students’ needs. Alan Maley and Nik Peachey References Bonneuil and Fressaz (2016) The Shock of the Anthropocene. New York and London: Verso Books. Emmott, S (2013) 10 Billion. London: Penguin. Hattie, J (2008) Visible Learning. London: Routledge. Vince, G (2014) Adventures in the Anthropocene. London: Chatto and Windus. Links • What is the Anthropocene and are we in it? http://www.smithsonianmag.com/science-nature/ what-is-the-anthropocene-and-are-we-init-164801414/ • Welcome to the Anthropocene http://www.economist.com/node/18744401 • The C Group http://thecreativitygroup.weebly.com/ • CLIL (content and language integrated learning) https://www.teachingenglish.org.uk/article/ content-language-integrated-learning • Critical thinking http://www.criticalthinking.org/pages/definingcritical-thinking/766 • IATEFL Global Issues SIG http://gisig.iatefl.org/ • Global issues in language education - JALT Special Interest Group http://gilesig.org/ • TESOL’s Social Responsibility Interest Section http://www.tesol.org/connect/interest-sections/ social-responsibility • Partnership for 21st Century Learning http://www.p21.org/ Introduction | 9 About the editors Alan Maley has been involved with English language teaching for over 50 years. He worked with the British Council for 26 years (1962–88) in Yugoslavia, Ghana, Italy, France, China and India. He then resigned to take over as Director-General of the Bell Educational Trust in Cambridge (1988–93). He was Senior Fellow at the National University of Singapore (1993–98) before going on to set up a new MA programme at Assumption University, Bangkok (1999–2004). He has since held university positions in Malaysia and Vietnam. He is now a freelance trainer, writer and consultant. He has published over 50 books and numerous articles. He is a past President of IATEFL and recipient of the ELTons Lifetime Achievement Award (2012). He is also a co-founder of the C Group (http:// thecreativitygroup.weebly.com). In 2015 he coedited, with Nik Peachey, the highly successful companion volume to this book – Creativity in the English language classroom. Nik Peachey is a freelance teacher trainer, writer, conference speaker and learning technology consultant. He has been involved in education since 1990 and has lived and worked all over the world. He is a two-time British Council Innovations Award winner and the co-founder of PeacheyPublications. com. He has worked with a wide range of educational companies, publishers and institutions, including Macmillan, Cambridge University Press, Oxford University Press, The British Council, International House, Bell Educational Services, University of Westminster, The Open University, BBC, Google Creative Labs and many more. Nik is a keen blogger and content curator. You can find his blogs at: https://nikpeachey.blogspot.co.uk/ and http://quickshout.blogspot.co.uk/ and his curation sites at: http://www.scoop.it/t/toolsforlearners and http://www.scoop.it/t/ learningtechnology He also publishes a twice-monthly Learning Technology and ELT newsletter at: https://tinyletter.com/technogogy/ In 2015 he co-edited, with Alan Maley, the highly successful companion volume to this book – Creativity in the English language classroom. 10 Developing children’s understanding of the Global Goals | 11 1 Developing children’s understanding of the Global Goals Carol Read Introduction This chapter aims to develop upper-primary and lowersecondary children’s awareness and understanding of the Global Goals. It describes a child-friendly approach that integrates language learning, creative thinking and social responsibility in a way that enables children to relate key issues to their own lives. It also lays solid foundations for children becoming responsible, global citizens in the future. We currently live in an age where, in many different countries and contexts, a standardised approach to schooling, including ELT, is increasingly the norm. This is typically characterised by low-risk, discreteitem teaching, frequent testing and dependence on measurable results and outcomes. By introducing children to the Global Goals as part of foreign language lessons, we can redress this balance and integrate a more holistic, personalised approach to children’s education into our classroom practice. In addition to developing specific areas of children’s English vocabulary and language skills in a worthwhile, motivating and enjoyable way, there are a number of other potential far-reaching benefits. These include: • raising awareness of global issues that touch children’s lives, no matter where they live. • empowering children with language to talk about such issues in a confident way. • developing critical thinking and problem-solving skills through enquiry-based discussion. • developing social skills such as listening, turn-taking, sharing ideas and co-operating with others in order to carry out activities. • fostering positive attitudes such as tolerance and respect for the views of others. • encouraging the belief that it is the responsibility of everyone to meet the Global Goals and that by working together this is more likely to be achievable. • providing opportunities for children to think ‘out of the box’ and come up with their own creative ideas, designs, products and solutions. • integrating values which help to promote reflective thinking, responsible choices and principled behaviour. The practical activities and lessons that follow focus on all 17 Global Goals and are designed for use with children between the ages of approximately 10 and 14 years, with a minimum English language level of A2. However, some of the activities may also be suitable to use with older students when introducing the concept of the Global Goals for the first time. The overarching objectives of the activities and lessons are to develop, at an appropriate level of linguistic and cognitive challenge, children’s awareness and understanding of: i) the broad scope of the Global Goals and the social and environmental issues and themes they cover. ii) the connections and links between the Global Goals in terms of problems and solutions. iii) how the Global Goals relate to children’s immediate home and school environment as well as to their local region or country. iv) positive action and things children can do themselves to help achieve the Goals. Although the activities and lessons are freestanding, you may decide to teach all of them chronologically. In this case, you will find that together they constitute a topic-based unit of work on the Global Goals. This provides a coherent sequence and logical progression, leading children from an initial understanding of the names and aims of the Goals to a final outcome in which they carry out a project based on helping to achieve one of the Goals in their local context.
Before going any further, it is better to discuss what is meant by teacher’s creativity here.
Creativity itself is actually a complex notion. It depends upon the ability to analyze and
evaluate situations and to identify novel ways of responding to them. This in turn depends
upon a number of different abilities and levels of thinking. That is why, a teacher’s creativity
can inspire other teachers. However, two creative teachers may do the same thing in different
ways.
It is interesting to discuss what characterizes creative teachers. Creative teachers are in
some ways similar. Richards in his online article mentions that creative teachers possess the
following qualities: (1) creative teachers are knowledgeable; (2) creativity in teachers requires
their possessing confidence; (3) creative teachers are committed to helping their learners
succeed; (4) creative teachers are non-conformists; (5) creative teachers are familiar with a
variety of strategies and techniques; (6) creative teachers are risk-takers; (7) creative teachers
seek to achieve learner-centered lessons; (8) creative teachers are reflective.
With regard to those qualities mentioned above, here are the author’s brief personal
opinions. Creative teachers learn a lot from a variety of sources. With all their knowledge and
efforts, they tend to enjoy trying out ideas in the class to help their students learn better. They do
not feel worried about being different from what other teachers think or do, or – borrowing the
term used in a classic work of Postman & Weingartner–”teaching as a subversive activity”.
They enjoy looking back at their own teaching practice, such as from notes (teaching journals),
students’ feedback (usually by getting them to scribble on a piece of paper, or questionnaires),
video-recording, or colleagues’ feedback (through observation).
From the discussion above it could be inferred that pre-service English teacher programs
alone are not enough to generate creative English teachers. According to Brewster (2007) a
few problems in initial English teacher education include: 1) an insufficiency of suitable training
materials; 2) an inappropriate theory-practice balance; 3) trainers who are not sufficiently
experienced in ELT; 4) insufficient demonstration, too much lecturing, too little participation;
and curricula which are out-dated and out-of-touch with current world developments.
In addition to in-service teacher training, within their teaching career participants are also
expected to continue with professional development, such as by actively taking part in
workshops and conferences, extensively reading professional journals and proceedings in the
field, and seriously participating in the events held by professional organizations. As far as the
author is concerned, the teachers of English are weak in this matter, especially in their use of
resources and participation in professional forums. The majority of them do not enjoy reading
books and lack familiarity with journals and proceedings. Neither are they encouraged to attend
professional development training forums and workshops. Often teachers attend forums merely
for the sake of obtaining a certificate!
Journals and proceedings are superior to textbooks. Recent research findings and creative
and innovative ideas are shared in journals, proceedings, as well as professional forums. Updated
information contained in them could be very valuable and inspirational to teachers of English.
Teachers’ common excuse relates to the unavailability of text-books in the first year of the
current curriculum implementation in this country; a situation conditioned by a lack of
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resources and access to information rich media. Only creative teachers could have survived
within such a scenario, as they could perform equally well with or without standardized material.
Like journals, conferences and symposiums are very valuable resources or accesses to the
development and sharpening of teachers’ creativity. For example, a university teacher of
English shared her research finding. In her collaborative work with a colleague she conducted
a team teaching and learning in her English class. She was very happy with her students’
response to the team teaching and learning. Eighty-five per cent of the students stated that
they preferred a class taught by a team having two members who were always present in the
class instead of a team whose members come in turn. She was also excited to see the fact that
with team teaching that adopted the Oral Presentation Approach both students and teachers
were encouraged to collaborate amongst themselves, especially within their own groups
cognitively – in getting knowledge by discussing the assigned readings, affectively – in
developing empathy and friendships, and psychometrically – in preparing power points and
operating the computer and LCD during the oral presentation. The teachers could share ideas
and experiences, especially during the discussion after the students’ presentations – which is
actually the essence of team teaching.
Conferences and symposiums often include workshops given by some of the delegates.
The practical experiences shared in these events are valuable and could be inspiring to other
teachers of English. For example, one teacher shared an experience of innovative and
effective strategies for teaching English. The teacher explained how to create a classroom
climate in which students were eager to take risks and practice a new language. Or, a workshop
given by another teacher who explained how to select/design/adapt/ materials and interactive
activities to make students better motivated through imaginative, creative, and innovative
teaching techniques suitable for productive learning.
Creativity in ELT can find itself expressed with regards to methodology, media, resources,
material, classroom activities, or in some combination these. Nowadays, with the rapid
advancement in ICT, teachers are challenged to make use of computer and internet in ELT.
Research has reported that English teaching and learning has become more practical,
“appetizing”, efficient, and effective with technology. However, it requires a lot of open-mindedness
and curiosity in the part of teachers. Besides open-mindedness and curiosity, at times, creativity
needs imagination and/or problem-solving skill too. The following are actual, more detailed
examples of teacher’s creativity in ELT.
First of all, the use of dubbing to help students learn English sounds. Teaching
pronunciation using drills so far has not been fruitful. Even though during the teaching and
learning process student involvement was apparent, in fact, the learning outcome was less than
what was expected. It seemed that a new, more subconscious teaching technique was
necessary to help them learn.
The author considered the using film dubbing, similar in form to karaoke in music, as a
way of indirectly getting students to develop phonic skills. Within the context of dubbing, the
individual was to memorize and concentrate on the verbal and non-verbal behavior of the film
artist whose voice he/she was dubbing. The process required a degree of reflection in that the
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dubber was to produce “professional” voice – one sounding like that of the original speaker.
The “Dubbing Group” students learned in a fun and exciting context which resulted in their
developing better pronunciation skills, even though statistically the result showed insignificant
difference compared to that of “Drill Group” students.
On another occasion, the author employed songs as media to help students learn English
connected speech. Connected speech is an important aspect in the pronunciation of English.
Mastering this aspect will not only improve the speaker’s’ fluency and give positive impression
of the speaker to the listener, but also help him/her comprehend the overall language better.
In relation with English connected speech, the writer considered that songs could be quite
helpful. One argument is that some songs, different from films, are so slow that recognizing
how the words flow becomes easier. Beat in songs and music in general makes it possible for
speech to be easier to apprehend in spite of the speed of the speech. Initially inspired by this
part “And I...” of a song entitled will always Love You, as a teacher the author selected and
explored some songs material for this purpose.
The students taught English connected speech have benefited from the use of songs as the
teaching media. Their perception toward the lesson was better than that of ‘Drill’ Group
students. The rates were 70.8% for “Song Group” students and 59.5% for their counterparts.
According to the open-ended questionnaire, students ‘impressions toward the use of media
were likely to make up around 57% of the total feedback given by the Song students. Based on
the statistical analysis, the gains of both sample means were,however, insignificant.
Another example of teacher’s creativity is shown in the following collaborative work. An
English teacher of a private vocational school in a district in central Purwokerto came by to
consult her students’ motivational problems when following English ‘structure’ lessons. She
complained that her students were passive, while structure was predominantly taught in the
school subject.
With regard to student poor participation, the author suggested the use of songs as
alternative media to promote the students’ participation in the class. The use of media can
develop student learning interest and motivation. With adequate learning interest it can be
expected that student participation is not just class attendance. The students will have enough
energy to avoid giving negative response to classroom activities. Songs have rhythm and
authenticity. These features in songs present fun to the listeners. When students feel excited to
learn, their learning participation develops.
As authentic material, songs motivate the listeners to repeat the lyrics either wholly or
partially. Furthermore, song lyrics contain samples of language in use, including sentence
patterns. Let us consider, for example, the expressions‘I don’t wanna see you crying’, or ‘I’ll
never let you go’. Within its context such an expression can be brought into the classroom
when a teacher intends to introduce the sentence patterns that use verbs of senses and special
verbs like let, make, etc. Sari (2009) points out the power of songs for teaching the grammar of
a language.
The collaborative work has indicated a positive effect of the intervention implemented in
the lesson. Based on the data analysis, there was a trend of improvement in both student
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learning participation as well as achievement.
The next example might be the greatest instance of creativity evinced by the author in the
teaching of English pronunciation. Suprasegmentals, such as stress and connected speech, are
worthier of attention mainly because these features contribute heavily to intelligibility in
spoken English and convey better impression of the speaker (O’Neal, 2010). Apart from the
significance of these features, several problems emerged during the author’s pronunciation
teaching: uninteresting lesson, lack of listening-to-model activity prior to production practice,
greater portion of teacher’s talk, and too much drill.
In an effort to solve the problems, reflective learning method with video as a reflective
tool incorporated into oral communicative language activities was adopted. Reflective
learning with video was hoped to enable the students to self-monitor and self-evaluate their
own speech performance. They were able to modify their behavior accordingly, either in
isolation or with support of teacher and/or peers. Facial expressions and gestures that often
accompany accented utteranceswereof special interest to students. Students’ pronunciation
class activity during the lesson covered rehearsing monolog or dialog, video recording,
replaying, and revising. In this way, the students could be motivated to learn by internal
rewards, such as increased self-esteem and a sense of accomplishment. Above all, the method
could be done autonomously by the students outside the classroom.
An outside class pair-work conversation recording made by two very weak students on
one occasion, for example, contained mostly accented and connected utterances of English.
On another occasion, another couple of students even managed to use intonation, stress, and
connected speech almost perfectly through their outside class conversation video clips. With
this improved use of intonation, stress, and connected speech, most students’ pronunciation
of English was to some extent no longer strong in Indonesian or Javanese accent. Their
utterances in monotones were ameliorated; meanwhile, melodies of varying kinds became
more often heard, with rising and falling intonation. In other words, the students’
pronunciation to some degree sounded “more English”/foreign-accented.
Some writers argue that writing cannot be taught. It can only be learnt. Others arguethat a
good writer is one who is a good reader. In fact, the experience of teaching academic writing is
felt to be the most challenging and energy-consumingwork by the author. Initially, the
academic writing class had begun with a presentation of patterns and dictions/terms/phrases
most commonly used in academic writing. When writing activity began students showed no
positive response to it. When given chance to ask questions, they tended to keep quiet. When
they were being monitored or their writing product was evaluated, almost nothing or very little
was written. They just found it hard to get started, let alone to write properly.
To solve the problem above, an academic writing class that offered relevant activities,
minimized teacher’s domination, provided students with greater opportunity to write, and
encouraged them to get involved in writing activity was required. As UNESCO (2001) writes,
“People learn best when they are directly involved in all aspects of their learning”. In line with
that, Dryden and Vos (1999) makes the point that most complex knowledge can be bestabsorbed
and memorized by learners if they learn with full involvement.
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The author this time tried out a teaching model named social inquiry, which is suggested for
use in the social studies. This teaching model gives an emphasis on problem-solving. Another
characteristic is the open climate of discussion. Students are provided with an opportunity of
making use of most possible sources in/outside schools. In the context of ELT, this teaching
model is expected to help students inquire about or search for facts about academic writing,
including its corresponding linguistic dimensions, and then communicate the results of the
inquiry within the classroom. There came an idea to give students a project-based and library
work assignment. The students, in pairs, were asked to write an article based on their
mini-project and writing task as if they had been an author and a co-author. They were invited
to make a presentation and receive feedback from peers and teacher.
Through such a teaching and learning process, writing lesson was no longer tiring and
time-consuming to either students or teacher, at least in the classroom. One clear, powerful
impact of this social inquiry teaching model on the academic writing teaching course was that
the students seemed to get involved in the class activity. Was it because they learnt by doing?
The next example of creativity in ELT was based genuinely on the author’s ideas and
experiences as a teacher, and partly on his survey. An example of common poor ELT practice
is a reading comprehension class in which the teacher gets the students to produce oral or
written answers to a series of ‘wh’ questions that follow a reading passage. It is too demanding,
as reading comprehension is receptive, so students should not respond far beyond
comprehension. It is enough for them to show a choice among options provided. When the
choice is right then it is assumed that the students comprehend the text. In a classroom
teaching and learning context, this even could be simplified by modifying the options-based
test item in such away that students find it appealing.
Many language learning activities, mainly those related to receptive language skills and
knowledge, can be presented using options-based tasks. Generally speaking, with options
students have choice. With choice they feel secure. The first type of modified options-based
task is the multiple-choice technique. With this technique, the teacher helps students get the
right answer (e.g. search for meaning of new words in authentic materials) by providing the
students with options that include both key and distracters they are already familiar with. By
doing so, the teacher helps the students attend to meaning without telling them directly. This
somehow supports inquiry learning.
Other modifications of objective test items for classroom ELT are possible. While,
normally, matching test items are presented complete with distracters (B list is longer than A
list) in tests, for classroom teaching and learning purpose the matching test item is
intentionally presented without distracters(A list is the same in length as B list) to attract
students to complete tasks. With this matching technique, the students spontaneously draw
lines connecting entries within both lists. Included in this technique are completion exercise in
which options are provided in the box, identifying pictures while listening, and sticking labels
under pictures. What might be matched might include synonymous words, antonyms, words
and definitions, words and pictures, etc.
On a smaller scale, there are other examples that reflect the teacher’s creativity in ELT. To
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raise students’ interest in learning pronunciation, the author has once in a while used a game
illustrated as follows:
1. Two groups of five to seven students are asked to stand in line (usually through classroom aisles).
2. The two “head” students are asked to listen (using the headset) to the speaker on the
recording at the front.
3. The two groups compete by trying hard to whisper the word heard by the head student
across the members to the tail student.
4. The competition is scored on the basis of speed and/or accuracy.
It has always been exciting and challenging. Quite often the author should wait a minute
before proceeding with the next step.
Since too many to mention here, the last example is derived from the author’s experience
as a certified TEFL TESOL Trainer of Trainer. As a variation, when introducing descriptive
texts, once in a while the class was challenged to go through a cooperative learning. Tools/
aids/media, namely several pieces of large drawing papers, color markers, and copies of text
had been prepared. The class was split into groups of 3 – 5 students. Each group was given a
copy of text, a paper, and markers with different colors. It was timed. They drew a picture after
or while reading the text. On completion of the task, the picture was stuck on the wall near
their joining seats. Usually, a little noise and laughter broke down at this point. Two or three
members of each group with notes should leave to visit “neighbors” for information sharing.
Quite often, they were involved in debate and managed to settle it when referring to the text.
Reading comprehension and speaking were supposed to develop well and excitingly this way.
All domains in individuals were supposed to be activated!
To sum up, overall, our teachers of English are not/less creative. Here are some
alternative suggestions for this condition:
1. Teachers’ creativity in English language teaching is important in order to help the students
learn better.
2. Some important words/phrases related to teachers’ creativity are knowledgeable,
confident, experimenting, imaginative, open-minded, curious, problem-solving.
3. Teachers of English should develop and sharpen their teaching creativity by nurturing
their professional development.
4. Teachers of English should familiarize themselves with journals or periodicals and read
them a lot to explore information or insights into and development of recent ideas and
research findings.
5. Teachers of English should actively take part in conferences, symposium, seminars, trainings,
and workshops. Such activities open the opportunity for or accesss to direct and intensed
communication with better experienced colleagues as to obtain practical ideas and
experiences.
6. Practical experiences have been shared in this paper. These could be inspiring and are, of
course, subject to adjustment.
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