2008 actfl annual convention and world languages …music+for... · 2008 actfl annual convention...
TRANSCRIPT
2008 ACTFL Annual Convention and World Languages Expo Orlando, Florida
Pre-Conference Workshop
“Salsa Music and Dance – Opening Minds to Language and Culture”
Facilitators
Eddy M. Enríquez Arana, The Pennsylvania State University, Mont Alto Dr. José Ricardo Osorio, Ed.D., Shippensburg University of Pennsylvania
ACTFL 2009 Orlando, FL—“Salsa Music and Dance: Opening Minds to Language and Culture” Eddy Enríquez Arana, The Pennsylvania State University—Mont Alto ([email protected]) & José Ricardo Osorio, Shippensburg University of Pennsylvania ([email protected])
----------------------------------------------------------------------------------------------------------------------------------------
- 2 -
Learning Outcomes of Workshop Sample Lesson: 1. Students will be able to identify socio-economic themes that arise in some salsa songs.
(Interpretative Communication) 2. Students will be able to exchange basic information about a selected salsa song.
(Interpersonal Communication) 3. Students will be able to create their story board based on a song that also depicts socio-economic issues.
(Presentational Communication) 4. Students will be able to compare and contrast socio-economic issues of their native culture with those depicted in the song.
(Cultural Comparisons) 5. Students will be able to perform a series of basic salsa steps.
(Cultural Demonstration)
6. At the end of the unit students will be able to identify and subsequently apply the present indicative of the following verbs: ir/andar/haber/tener/ver/ser/limpiar/robar/vender/mendigar/sufrir/llorar.
(Demonstration of Language Control)
I. Socio-economic Themes in Colgaditos.
Foto #1 Foto #2 Foto #3
A. Read the following excerpt from the song Colgaditos and decide which picture best represents the song’s general social depiction.
Hay niños que andan vagando en una ciudad
Con cara de sed, con cara de hambre en busca de amor
Hay niños que van mendigando un poco de pan
En las avenidas, en las esquinas
¿Por qué será?
ACTFL 2009 Orlando, FL—“Salsa Music and Dance: Opening Minds to Language and Culture” Eddy Enríquez Arana, The Pennsylvania State University—Mont Alto ([email protected]) & José Ricardo Osorio, Shippensburg University of Pennsylvania ([email protected])
----------------------------------------------------------------------------------------------------------------------------------------
- 3 -
B. Explain your selection and provide the textual clues for your assumption. ___________________________________________________________________
___________________________________________________________________ ___________________________________________________________________
C. Read the entire song lyrics paying attention the general meaning. Then, proceed to
section D. Willie Colón, Colgaditos
Colgaditos van, por el mundo Colgaditos van, vagabundos
Hay niños que andan vagando en una ciudad Con cara de sed, con cara de hambre en busca de amor
Hay niños que van mendigando un poco de pan En las avenidas y en las esquinas
¿Por qué será?
¿Será que salieron de hogares abandonados? ¿Será que no tienen a alguien que pueda cuidarlos?
Y por lo tanto sólo les queda sobrevivir Con un futuro no muy seguro para seguir
Oh, oh, oh, oh Oh, oh, oh, oh
Hay niños que andan vagando por la ciudad
Oh, oh, oh, oh Oh, oh, oh, oh
Hay niños que veo vagando, ¿por qué será?
Hay niños que nunca salen del hospital
Por consecuencia de las aventuras de mamá y papá Hay niños que se la juegan
Y es la verdad
Limpiando zapatos, robando carteras, ¿por qué será? ¿Será que salieron de lugares olvidados?
Donde pa’ comer hay que sudar el centavo
ACTFL 2009 Orlando, FL—“Salsa Music and Dance: Opening Minds to Language and Culture” Eddy Enríquez Arana, The Pennsylvania State University—Mont Alto ([email protected]) & José Ricardo Osorio, Shippensburg University of Pennsylvania ([email protected])
----------------------------------------------------------------------------------------------------------------------------------------
- 4 -
Se hacen hombres demasiado temprano confusos y rudos Van en la vida colgaditos por el mundo
Oh, oh, oh, oh Oh, oh, oh, oh
Hay niños que andan perdidos en la ciudad
Oh, oh, oh, oh Oh, oh, oh, oh
Hay niños que veo vagando, ¿por qué será?
Oh, oh, oh, oh Oh, oh, oh, oh
Niños que roban porque lo[s] inducen
Niños que lloran, niños que sufren
Oh, oh, oh, oh Oh, oh, oh, oh
Van vagando con cara de hambre Y mendigan el pan en las calles
¿Por qué será?
Oh, oh, oh, oh Oh, oh, oh, oh
Para gozar las esquinas, bendito, colgaditos
Oh, oh, oh, oh Oh, oh, oh, oh
Cuida conductor tu velocidad
Hay niños jugando, tienes que parar
Oh, oh, oh, oh Oh, oh, oh, oh
Salieron de hogares abandonados
Donde para comer, hay que sudar el centavo
Oh, oh, oh, oh Oh, oh, oh, oh
Hay que cuidar [a] nuestros niños
Pues, sin un futuro…
Colgaditos van, por el mundo Colgaditos van, vagabundos
ACTFL 2009 Orlando, FL—“Salsa Music and Dance: Opening Minds to Language and Culture” Eddy Enríquez Arana, The Pennsylvania State University—Mont Alto ([email protected]) & José Ricardo Osorio, Shippensburg University of Pennsylvania ([email protected])
----------------------------------------------------------------------------------------------------------------------------------------
- 5 -
D. Identify the statements that best reflect the subject matter of Colgaditos. Be prepared to support it with references from the text.
A. Children wander on the streets.
B. Children play at the park.
C. Hungry and thirsty children are deprived of love.
D. Children are always sick.
E. Parents act responsibly with their children.
F. Children came from broken homes.
II. Take turns describing each picture to your partner. As your partner
describes each picture, make a drawing based on the description. Ask questions accordingly to obtain more information so that your drawing accurately reflects the description. Do not show your pictures to your partner; instead, use negotiation of meaning to convey ideas.
Student A Student B
Foto #1 Foto #1 ___________________________________ _________________________________ ___________________________________ _________________________________ ___________________________________ _________________________________ ___________________________________ _________________________________
___________________________________ _________________________________
Foto #2 Foto #2 ___________________________________ _________________________________ ___________________________________ _________________________________ ___________________________________ _________________________________
___________________________________ _________________________________ ___________________________________ _________________________________
ACTFL 2009 Orlando, FL—“Salsa Music and Dance: Opening Minds to Language and Culture” Eddy Enríquez Arana, The Pennsylvania State University—Mont Alto ([email protected]) & José Ricardo Osorio, Shippensburg University of Pennsylvania ([email protected])
----------------------------------------------------------------------------------------------------------------------------------------
- 6 -
III. Create a story board illustrating the socio-economic issues raised in the song. For each frame, write a statement that summarizes each concept.
1.
2.
3.
4.
IV. Think of social issues that affect children in your country and compare and
contrast them with those presented in Colgaditos. Propose possible solutions to the issues you find.
V. Read the following paragraph and complete it with the correct form of the verbs listed below. Remember to keep in mind the general message and meaning of Colgaditos. Three verbs do not belong.
cantar
venir 2x haber 2x
ser
estar
tener 3x dormir
robar
pedir
arriesgar limpiar
hablar
disfrutar
crecer
En el mundo, (1) ___________ niños que no (2) ________________ casa permanente. (3)_______________
sed, hambre y necesitan amor. (4)_______________ pan en las avenidas y las esquinas. Probablemente (5)
_______________ de lugares abandonados y no (6) ____________________ seguridad. Necesitan sobrevivir y
no tienen un futuro seguro. (8)______________ niños que siempre (9) ______________ en el hospital por los
errores de sus padres. Estos niños lo (10) _____________________ todo. (11) _______________________
zapatos, (12) ___________________ carteras.
¿Por qué? Probablemente (13) ___________________ de lugares abandonados, donde (14)
_______________________ necesario trabajar mucho para comer. No (15) _______________________ su
niñez (childhood), (16) ______________________ muy rápido y se transforman en personas confundidas
(confused). Necesitamos cuidar de nuestros niños porque ellos (17) ___________________________ el futuro.
ACTFL 2009 Orlando, FL—“Salsa Music and Dance: Opening Minds to Language and Culture” Eddy Enríquez Arana, The Pennsylvania State University—Mont Alto ([email protected]) & José Ricardo Osorio, Shippensburg University of Pennsylvania ([email protected])
----------------------------------------------------------------------------------------------------------------------------------------
- 7 -
VI. Suggestions for further assessment and evaluation of varying proficiency
levels (For sample rubric for the novice level, refer to appendix D):
1. Create a poster advocating for children’s issues around the world.
2. Draft a composition in the form of a letter appealing to a particular world leader
concerning a specific problem children face.
3. Create a storyboard illustrating the concepts, sequence of events, and/or central
themes of a selected salsa song. This can be accompanied by frame-by-frame
descriptions (e.g. written, oral, or audiovisual)
4. Write additional verses to a selected salsa song and present/sing them.
5. Carry out a research project underlining the consumption of U.S. American music
abroad.
6. Create a series of one-act plays or skits based on the general message of the song
presented.
7. Design a music video with content-related images that present the subject matter
through audiovisual material.
8. Write and design a series of articles showcasing a particular salsa group or critiquing
a song and combine the texts in the form of a magazine or newspaper publication.
9. With respect to controversial issues, engage the class in a two-sided debate to
convince a neutral third party.
Note to the instructor: The authentic material (song) chosen for this activity is intended for college students. In designing additional activities, it is important to take into account students’ cognitive level and interests. Información sobre la canción: El cantante de Colgaditos, Willie Colón, es conocido por sus canciones que concientizan al público de problemas sociales. Las mismas tienen como
fin, provocar cambios y soluciones a injusticias. Esta canción trata el tema del sufrimiento del niño a través del mundo.
Notes: ___________________________________________________________________ _________________________________________________________________________
_________________________________________________________________________ _________________________________________________________________________ _________________________________________________________________________
ACTFL 2009 Orlando, FL—“Salsa Music and Dance: Opening Minds to Language and Culture” Eddy Enríquez Arana, The Pennsylvania State University—Mont Alto ([email protected]) & José Ricardo Osorio, Shippensburg University of Pennsylvania ([email protected])
----------------------------------------------------------------------------------------------------------------------------------------
- 8 -
Appendix A
II. Take turns describing each picture to your partner. As your partner describes each picture, attempt to make a drawing based on the description. Ask questions accordingly to obtain more information. Do not show your pictures to your partner. Use negotiation of meaning to convey ideas.
Student A Foto #1
Foto #2
ACTFL 2009 Orlando, FL—“Salsa Music and Dance: Opening Minds to Language and Culture” Eddy Enríquez Arana, The Pennsylvania State University—Mont Alto ([email protected]) & José Ricardo Osorio, Shippensburg University of Pennsylvania ([email protected])
----------------------------------------------------------------------------------------------------------------------------------------
- 9 -
Appendix B
II. Take turns describing each picture to your partner. As your partner describes each
picture, attempt to make a drawing based on the description. Ask questions accordingly to obtain more information. Do not show your pictures to your partner. Use negotiation of meaning to convey ideas.
Student B
Foto #1
Foto #2
ACTFL 2009 Orlando, FL—“Salsa Music and Dance: Opening Minds to Language and Culture” Eddy Enríquez Arana, The Pennsylvania State University—Mont Alto ([email protected]) & José Ricardo Osorio, Shippensburg University of Pennsylvania ([email protected])
----------------------------------------------------------------------------------------------------------------------------------------
- 10 -
Appendix C
Song Inventory #1 Gloria Estefan, Mi tierra
De mi tierra bella, de mi tierra santa oigo ese grito de los tambores y los timbales al cumbanchar
y ese pregón que canta un hermano que de su tierra vive lejano
y que el recuerdo le hace llorar una canción que vive entonando de su dolor de su propio llanto
y se le escucha penar.
La tierra te duele, la tierra te da en medio del alma, cuando tú no estás
la tierra te empuja de raíz y cal la tierra suspira si no te ve más...
La tierra donde naciste no la puedes olvidar, porque tiene tus raíces
y lo que dejas atrás.
Siguen los pregones, la melancolía y cada noche junto a la luna
sigue el guajiro entonando el son. y cada calle que va a mi pueblo
tiene un quejido, tiene un lamento tiene nostalgia como su voz.
y esa canción que sigue entonando corre en la sangre y sigue llegando
con más fuerza al corazón...
Tiene un quejido...mi tierra tiene un lamento...mi tierra nunca la olvido...mi tierra
la llevo en mi sentimiento, si señor oigo ese grito...mi tierra
vive el recuerdo...mi tierra corre en mi sangre...mi tierra
La llevo por dentro como no canto de mi tierra bella y santa
sufro ese dolor que hay en su alma aunque estoy lejos yo la siento
y un día regreso yo lo sé.
ACTFL 2009 Orlando, FL—“Salsa Music and Dance: Opening Minds to Language and Culture” Eddy Enríquez Arana, The Pennsylvania State University—Mont Alto ([email protected]) & José Ricardo Osorio, Shippensburg University of Pennsylvania ([email protected])
----------------------------------------------------------------------------------------------------------------------------------------
- 11 -
#2 Frankie Ruiz, Puerto Rico
Puerto Rico
Cuando mis labios pronuncian tu nombre, mi corazón se acelera y siempre espera,
seguirte a ti.
Cuando de niño, yo jugaba en tus calles, que con cariño viven en mí.
Tus lindos montes, tan bellos tus valles, que en esa isla, deseo morir.
Puerto Rico,
nuestra isla de encanto, Frankie Ruiz, con su canto,
quiere hacerte feliz.
Puerto Rico, mi ambición es tenerte, como todo un boricua, en mi pecho tenerte.
Puerto Rico yo me siento latente, pues boricua me hiciste hasta la muerte.
Cuando de niño yo jugaba en tus calles
Que con cariño viven en mí Tus lindos montes, tan bellos tus valles
En esa isla, deseo morir.
Puerto Rico, nuestra isla de encanto. Frankie Ruiz con su canto
Quiere hacerte feliz.
Puerto Rico, mi ambición es tenerte, como todo un boricua, en mi pecho tenerte.
Puerto Rico yo me siento latente, pues boricua me hiciste hasta la muerte.
Boricua soy y siempre seré
Es la isla del encanto, la tierra donde nací
mi Borinquen.
Boricua soy y siempre seré.
Preciosa te llaman las olas, de ese azul y verde mar.
Boricua soy y siempre seré.
Porque boricua me hiciste
y te querré hasta la muerte.
Y siempre seré...
ACTFL 2009 Orlando, FL—“Salsa Music and Dance: Opening Minds to Language and Culture” Eddy Enríquez Arana, The Pennsylvania State University—Mont Alto ([email protected]) & José Ricardo Osorio, Shippensburg University of Pennsylvania ([email protected])
----------------------------------------------------------------------------------------------------------------------------------------
- 12 -
Puerto Rico yo soy tuyo.
Y siempre seré
Boricua y de Mayagüez.
Y siempre seré
Puertorriqueño hasta la muerte. Y siempre seré
Yo soy de aquí... Como el coquí... De Puerto Rico
Yo soy Frankie Ruiz...
Ya tú verás siempre es así... Soy el papá de la salsa.
#3 Orquesta de la Luz, Arroz con salsa
No hay, no hay, nada más que arroz con salsa No hay, no hay, nada más que arroz con salsa No hay, no hay, nada más que arroz con salsa No hay, no hay, nada más que arroz con salsa
Arroz con salsa es tremenda combinación
Un buen arroz oriental y la salsa latina con sabor Si tú unes sabores de lugares diferentes
Y la armonía especial se siente en el ambiente
No hay, no hay, nada más que arroz con salsa No hay, no hay, nada más que arroz con salsa No hay, no hay, nada más que arroz con salsa No hay, no hay, nada más que arroz con salsa
Mmmmm, me huele, me huele.
¿Qué está cocinando? Mmmmm, me huele, me huele.
Ay, ¿qué será? Mmmmm, me huele, me huele.
Mmmmm, ¡qué sabroso! Mmmmm, me huele, me huele.
Vamos a comer y a saborear Que todos somos hermanos
Este sabor tropical, oriental antillano
¡Qué bueno es! ¡Eso es!
Arroz con salsa Ven a probar salsa y arroz oriental
ACTFL 2009 Orlando, FL—“Salsa Music and Dance: Opening Minds to Language and Culture” Eddy Enríquez Arana, The Pennsylvania State University—Mont Alto ([email protected]) & José Ricardo Osorio, Shippensburg University of Pennsylvania ([email protected])
----------------------------------------------------------------------------------------------------------------------------------------
- 13 -
Cuando tienes apetito de comer buena comida Arroz con salsa es la mejor medicina
¡Qué bueno es!
Chévere Arroz con salsa
Ven a probar salsa y arroz oriental
Si la sazón de la salsa y el aroma te dominan Te pones a vacilar en todas las esquinas
¡Qué bueno es! Arroz con salsa
Ven a probar salsa y arroz oriental
Tremenda combinación salsa y arroz oriental Y ahora que está de moda
Tú la puedes saborear
Hay mucho arroz con salsa mi gente De lugares diferentes
Comemos sushi, suki, yaki teni, yaki tepañaki
Allá comen cuchifrito, mondongo, tostones, bacalaítos También se come pasteles, arepas, candinga, carne guisada
Arroz con salsa es como la Orquesta de la Luz Porque tenemos salsa Gohan en nuestra barriga.
Sabes que somos de Japón pero tenemos sabor latino Todos somos hermanos
¡A comer!
Aunque somos de Japón Tenemos sabor latino
Tocamos salsa de corazón Tenemos sabor latino Ven y gózalo conmigo Tenemos sabor latino
Cojan mi salsa, cojan mi salsa
La traemos de muy lejos Tenemos sabor latino
Con orgullo y sin complejos Tenemos sabor latino
¡A comer!
¡Coman mi salsa!
¡Sabrosa!
ACTFL 2009 Orlando, FL—“Salsa Music and Dance: Opening Minds to Language and Culture” Eddy Enríquez Arana, The Pennsylvania State University—Mont Alto ([email protected]) & José Ricardo Osorio, Shippensburg University of Pennsylvania ([email protected])
----------------------------------------------------------------------------------------------------------------------------------------
- 14 -
Appendix D
Assessment Rubric for Performance-Based Activities Target Level: Novice-Mid (Meets expectations)
Criteria Exceeds Expectations 4-5 points
Meets Expectations 2-3 points
Not There Yet 0-1 points
Task Completion With relative easiness, the student is able to express
ideas minimally with learned phrases and/or isolated words pertaining to the
topic being assessed. There’s some use of
memorized short sentences.
The student has some problems to express ideas minimally with
learned phrases and/or isolated words
pertaining to the topic being assessed.
The student finds it extremely hard to express ideas minimally.
He/she cannot remember phrases and/or isolated words pertaining to the topic being
assessed. There’s no functional
conversational exchange.
Comprehensibility Because of interference from his/her native
language, the student cannot always be
understood. He/she also has problems to understand
his/her interlocutor’s speech, but when necessary, he/she negotiates meaning.
The student’s speech is hard to understand and
meaning may be obscure. The student attempts to negotiate
meaning when understanding is
difficult.
The student’s speech is incomprehensible due to severe
pronunciation problems. He/she does not attempt to
negotiate meaning and prefers to resort to silence.
Language Control With relative easiness, the student uses some variety of
memorized phrases, vocabulary and correct verb
forms to convey ideas pertaining to the topic being
assessed. There are still mistakes, but
meaning is conveyed.
The student uses minimally memorized
phrases, vocabulary and verb forms to convey
ideas pertaining to the topic being assessed.
There are a lot of mistakes. Therefore,
communication is broken at times.
The student cannot always use (or remember) phrases,
vocabulary and verb forms to convey ideas pertaining to the
topic being assessed. Therefore, the student fulfills most of the
task using his/her native language.
*Rubric devised according to the ACTFL Proficiency Guidelines for the Novice Level.
Reference & Further Reading
Glisan, W. E., & Shrum, J. L. (2005). Teachers’ handbook: Contextualized language instruction (3rd edition). Boston, MA: Heinle & Heinle. Nuessel, F., & Marshall, A. D. (2008). Practices and principles for engaging the three communicative modes in Spanish through songs and music. Hispania, 91(1), 139-146.
ACTFL 2009 Orlando, FL—“Salsa Music and Dance: Opening Minds to Language and Culture” Eddy Enríquez Arana, The Pennsylvania State University—Mont Alto ([email protected]) & José Ricardo Osorio, Shippensburg University of Pennsylvania ([email protected])
----------------------------------------------------------------------------------------------------------------------------------------
- 15 -
Facilitators
Eddy M. Enríquez Arana, M.A.
The Pennsylvania State University, Mont Alto
&
Dr. José G. Ricardo-Osorio, Ed.D.
Shippensburg University of Pennsylvania
Salsa Music and Dance: Opening Minds
to Language and Culture
ACTFL Conference, Orlando, FL Nov 20, 2008
Workshop Breakdown
1:00-1:10-Introduction to the Workshop
1:10-1:30-Overview of salsa music/dancing as a cultural
product and implications for instruction.
1:30-2:15-Sample lesson.
2:15-2:20-Break
2:20-3:00-Group work (designing a lesson)
3:00-3:30-Groups’ presentations
3:30-3:45-Mini-salsa lesson (learning the basics)
3:45-4:00-Q & A and workshop evaluation
ACTFL 2009 Orlando, FL—“Salsa Music and Dance: Opening Minds to Language and Culture” Eddy Enríquez Arana, The Pennsylvania State University—Mont Alto ([email protected]) & José Ricardo Osorio, Shippensburg University of Pennsylvania ([email protected])
----------------------------------------------------------------------------------------------------------------------------------------
- 16 -
Workshop Objectives
Select appropriate salsa songs (authentic materials) for
Spanish lessons.
Design effective communicative activities based on salsa
songs.
Implement communicative activities more effectively.
Assess student learning outcomes through performance-
based tasks.
Demonstrate basic knowledge of salsa dancing.
Overview of salsa music/dancing as a cultural
product and implications for instruction
Salsa music and dancing are products of Latino American
traditions which in turn have been influenced by African
traditions.
These products are used as a means of enjoyment among salsa
enthusiasts from all over the world. Salsa has become
synonymous with Latino music.
Some salsa lyrics (especially early compositions) express
socio economic and political aspects of the Latino culture.
It is important that students be exposed to cultural
expressions that bring about critical thinking.
ACTFL 2009 Orlando, FL—“Salsa Music and Dance: Opening Minds to Language and Culture” Eddy Enríquez Arana, The Pennsylvania State University—Mont Alto ([email protected]) & José Ricardo Osorio, Shippensburg University of Pennsylvania ([email protected])
----------------------------------------------------------------------------------------------------------------------------------------
- 17 -
Some Guidelines on How to Use Authentic
Materials Effectively (Glisan & Shrum, 2005)
Authentic materials (AM) should target different learning
styles.
AM should be age appropriate and unbiased.
Link AM to a thematic unit and/or curriculum.
AM content should not be manipulated to lower the level of
difficulty. Tasks must be adjusted to students’ level.
Introduce AM with a pre-activity.
Expose students to AM more than once before the central
task is carried out.
Demonstrate the task to the class.
Continuation of Guidelines
For beginners, write task instructions in the students’ target
language.
Choose AM that can integrate different ACTFL standards at
once.
Pictures for Interpersonal Activity
ACTFL 2009 Orlando, FL—“Salsa Music and Dance: Opening Minds to Language and Culture” Eddy Enríquez Arana, The Pennsylvania State University—Mont Alto ([email protected]) & José Ricardo Osorio, Shippensburg University of Pennsylvania ([email protected])
----------------------------------------------------------------------------------------------------------------------------------------
- 18 -
Pictures for Interpersonal Activity
Pictures for Interpersonal Activity
Pictures for Interpersonal Activity