As a language teacher, I regularly incorporate cultural texts as a way to guide students toward achieving specific and measurable learning outcomes. Second language acquisition research shows that the use of authentic cultural texts in language learning stimulates interest in the learning process and contributes to an enjoyable atmosphere that reduces stress. However, since the linguistic content of authentic cultural texts often exceeds students’ linguistic developmental readiness, I take great care to structure these learning activities around specific and measurable learning outcomes that are developmentally appropriate. This allows for differentiated learning opportunities given the diverse developmental stages represented in any given classroom, whereby the advanced linguistic content of authentic cultural texts can function as a welcome challenge for those who are developmentally ready for it without overwhelming students who are less advanced.
As an example, I might present students with a Mexican song whose theme aligns with newly learned chapter vocabulary. I can use this song as a thematic springboard from which to guide students from the input phase of language learning (listening, reading, recognizing) toward the output phase (speaking, writing, producing). As a warmup listening comprehension exercise meant to activate new chapter vocabulary, I might present students with a fill-in-the-blanks activity that must be solved by listening for and recognizing the new chapter vocabulary words in the song. This kind of activity is received with enthusiasm since students are able to practice targeted vocabulary and listening comprehension skills while at the same time being exposed to authentic cultural texts, which stimulates acquisition of cultural literacy. As a way of transitioning to the output phase of language learning, I can continue to use the themes of the song to present students with communicative tasks that require students to produce targeted vocabulary to solve communicative gaps. This type of curriculum design makes for an invigorating classroom environment where learners are constantly testing their language skills in a stimulating setting that yields specific and identifiable learning outcomes while allowing for differentiated learning.
One of the greatest impediments to learning a second langauge is fear of making mistakes. As such, to create an environment where students feel safe to make mistakes, I promote the idea that the language classroom is a laboratory in which students will be testing their hypotheses about their ability to communicate ideas on a daily basis. This approach sets the expectation that the language classroom is a place where a) mistakes are accepted as integral to the learning process, and b) where mutual respect and collaboration are essential. This sets the stage for a collaborative classroom where students have a sense of responsibility to each other’s learning process as they are constantly challenged to use the language with each other to resolve communicative problems presented to them. My role in this laboratory is to emphasize meaningful communication, as opposed to perfection. My role is also to provide corrective feedback that is respectful and accepting of the types of mistakes students make based on issues of their developing interlanguage and diverse cognitive processes. I give a great deal of consideration to the timing and type of corrective feedback I provide, such as ‘prompts’ and ‘recasts,’ to guide students toward acquiring the targeted linguistic forms in a respectful way that encourages them to continue to test their knowledge of the language. As evidenced by student’s end-of-course evaluations, these strategies, together, foster a sense of ownership in the learning process that liberates them to constantly challenge themselves and strive for growth:
I like that even when we mess up and make mistakes, she's created such a safe environment that is focused more on getting your message across that we don't feel ashamed or embarrassed and instead are eager to correct ourselves and try to do better each time. [Spanish Fundamentals Fall 2017]
In my teaching, I employ Anti-Racist and Trauma-Informed teaching strategies meant to address feelings of alienation among underrepresented students. As an example, when teaching Spanish for Heritage Speakers, I devote the first two weeks of the quarter toward what heritage language pedagogues have termed ‘linguistic therapy.’ This involves engaging students in critical thinking from a sociolinguistic framework as a way to challenge ideologies such as monolingual bias and linguistic purity that stigmatize their linguistic practices. I expose students to academic and cultural texts (including music, poetry, and videos) that present Spanglish and bilingualism as legitimate practices that affirm the multifaceted identities of Latinx communities. I devote an entire lesson to uses of Spanglish, where I present students with a poem by Nuyorican poet Melissa Lozada-Oliva, called “My Spanish”. In this lesson, students are asked to add to the poem with their own poetic verses around the theme of linguistic insecurity. This exercise has a positive impact on students since it results in a collective way to externalize and validate shared feelings of linguistic estrangement. These exercises prepare students to approach a course on Spanish academic writing conventions feeling validated in their own linguistic positionalities, abilities and starting points. With this approach, students understand that the goal of the course isn’t to ‘correct’ or limit their linguistic practices, but to give students agency over which linguistic register to employ in a given social context.
My teaching approaches have developed as a result of efforts to respond to the diverse learning needs of my students, with special attention to students who have faced historical patterns of exclusion from higher education. For instance, during my time as a volunteer English as a Second Language teacher at a women’s prison in Oregon, my first teaching experience was with incarcerated women of Hispanic origin whose desire to learn English was palpable. From the very first day, I learned that my own cultural, linguistic, and academic upbringing imposes biases on my teaching. As a college educated Latina, I assumed that my students possessed a basic level of literacy, and I assumed that all my students spoke Spanish as a first language. However, these basic assumptions were dispelled when I learned that one of my students was non-literate and that she spoke a Mayan language, and not Spanish. After overcoming my assumptions through some laughter with the student, I realized I had to switch my teaching strategy away from a literacy-centered one that assumed Spanish as the primary language of reference. As such, I began to intentionally compliment written instruction with oral instruction. Further, I shifted toward using the target language (English in this case) as the primary vehicle of instruction, and I stopped relying so heavily on Spanish as a referent. This shift in strategy was my first venture into Universal Design for Teaching, which advocates for adapting to the learning needs of diverse students as a way to make learning more accessible for everyone, not just for the student requiring the shift. In this case, the focus on orality led me to create more opportunities for all students to produce the target language through oral communicative activities and, in so doing, for students to be more fully immersed in the target language. As I would later learn through formal training in second-language pedagogy during my doctoral studies at UCI, using the target language through oral communicative tasks is one of the central principles of second-language pedagogy and the strategy that is most linked to second-language acquisition in adult learners. And while I did not entirely move away from written instruction as it was beneficial to the literate majority—where students enjoyed writing letters for me to provide feedback on—I found that creating opportunities for meaningful dialogue led to more language output in both literate and non-literate students. This experience taught me that recognizing differences in cultural, linguistic, and educational backgrounds challenges students and the instructor to be more aware of our diversity as human beings, and it requires us to recognize our shared role in promoting each other’s personal and intellectual growth.
Instructor of Record
Spanish for Heritage Speakers
Hybrid (One Quarter)
Instructor
Intensive Spanish Fundamentals (Intensive Summer Sequence)
In-Person, Synchronous-Online (Two Quarters)
Instructor of Record
Fundamentals of Spanish (Three-Course Sequence)
In-Person, Hybrid, Synchronous-Online (Five Quarters)
Instructor of Record
Intermediate Spanish (Three-Course Sequence)
In-Person, Synchronous-Online (Three Quarters)
Instructor of Record
Intermediate Intensive Spanish (Two-Course Sequence)
In-Person (One Quarter)
Teaching Assistant
Survey of Mexico and Central America
Professor Jacobo Sefamí
Teaching Assistant
History of Latin Music
Professor Santiago Morales
Teaching Assistant
Gender and Sexuality in Latin America
Professor Viviane Mahieux
Professor Bert Winther-Tamaki