Tablas dinámicas

following extract from the first lesson (p. 2):

Greetings

Oral practice and memory work.

Kia ora! Hello! (It really means ‘May you be well') Tēnā koe! Hello! (Greetings one person only.) E pēhea ana koe? How are you?

Ka nui te pai. I’m fine. Hou mai ki roto. Come inside. Haere mai. Welcome.

E noho. Sit down.

There are frequent long lists of vocabulary translated into English, with no context setting, no accompanying illustrations, and no suggestions about how they are to be approached. The following is a small sample of the 39 words listed at the end of Lesson 5 (p. 18):

Vocabulary

ora well, healthy kaha strong

koe you (one person) pai good kōrua you (two people) hui meeting koutou you (three people) reka delicious

hei let it be mate sick, dead, sickness

kōnei Here hiakai hungry

kite see hiamoe sleepy

anō again

There are a number of different text-types in addition to dialogue in this textbook, for example, monologues, songs, and poems. So far as genre is concerned, within the context of different text-types, segments exhibiting recount/narrative, classification/desccription and instruction appear occasionally and there is an instance of a fulll recount in Lesson 25 (p. 77) where the introductory instructions indicate that it is intended to be read aloud:

Read the following story. Remember to give full value to the long vowels marked with a macron.

Ko Rihari tēnei. Kei waho i te Poutāpeta. He tamaiti ātaahua a Rihari. Tino snazzy tana hāte. Te pai hoki o ana tarau! E tū ana ia, e tatari ana ki a Erena. Ko Erana tana kōtiro. “He aha te tāima?” Ka titiro ia ki tana wati. ‘Rima miniti ki te waru karaka.’ Kua tūreiti a Erena, kua tīmata kē te pikitia. Āhua riri ana a Rihari. [This is Rihari. He’s outside the Post Office. Rihari is a good looking young boy. His shirt is snazzy. His pants are nice too. He’s standing and is waiting for Erena. Erena is his

girlfriend. What’s the time? He looks at his watch. Five minutes to eight o’clock. Erena is late, the movie has already started. Rihari is somewhat angry.]

Ko Erana tēnei. He kōtiro tino ātaahua. Tino hōhā ia. ‘Kei hea tēnā taurekareka? Kua kī mai ia. Me tutaki tāua ki waho i te whare pikitia. Kei hea ia e ngaro ana? Koata pāhi i te waru karaka te tāima. Kua tīmata kē te pikitia.” [This is Erena. She is a beautiful girl. She is annoyed. “Where is that scoundrel? He said we should meet outside the movie theatre. He’s lost somewhere? The time is quarter pass eight. The movie has already started.”]

No activities (e.g. comprehension questions) accompany this text which appears to have little function other than to include the following constructions for revision: “...E tū ana ia, e tatari ana ki a Erena...Ka titiro a Erena, kua timata kē te pikitia...Me tutaki tāua ki waho i te whare pikitia” and new constructions to tell the time; “Rima miniti ki te waru karaka...Koata pāhi i te waru karaka te tāima” (Ryan, 1978, p. 77). 4.3.3.2 Cultural content

The inclusion of waiata (songs), haka (war dance) mihimihi (greetings), whaikōrero (oral speech making), whakataukī (proverbial sayings), and ngā whanaunga (connections) is critical in terms of cultural content in view of the fact that most aspects of the material are of little cultural significance.

4.3.3.3 Tasks and activities

Many of the exercises included in this textbook are of a very traditional kind, including decontextualized translation (see first example - from p. 6 - below), changing forms (see second example - from p. 6 below) and gap filling. There is some relief from this in the form of some examples of crosswords (Lessons 5, 9, 20, 21, 30, 31, & 34). The extracts below are, however, more characteristic from lesson 2 page 6.

Exercise 5

Change the following into the plural in Māori.

1. Te teina 6. He wahine 2. Te tipuna 7. Te tamaiti 3. He matua 8. He tamaiti 4. Te tuahine 9. Te tangata 5. Te tuakana 10. Te wahine Exercise 6 Translate (Whakamāoritia)

1. A young brother 5. Some women 8.The child 2. Some young brothers 6. The women 9. Some children 3. The parents 7. The ancestors 10. An older brother 4. The people

4.3.3.4 Quality and relevance of the illustrations

The illustrations, small black and white line drawings, make little contribution to the appeal and interest of the book and serve little pedagogic function. Thus, for example, the following illustrations (from lesson 7: Modern Māori 1) are intended to be used in the context of distinguishing between deictics (tēnei and tēnā) although no such distinction is evident in the illustrations themselves:

(Ryan, 1978, p. 20)

4.3.3.5 Approach/ methodologies

Once again, as in the case of the other textbooks analyzed, what we have here is a combination of aspects of grammar translation with aspects of audio-lingualism.

4.3.3.6 Interest level

This textbook is made up of a collection of materials organized in relation to structural content and presented in a haphazard and generally decontextualized way in association with small black and white illustrations (that contribute little to meaning) and a range of largely traditional-type exercises which lack any genuine communicative orientation. Although some attempt has been made to include material of cultural relevance/ significance, the materials have, overall, very little to offer that is likely to appeal to contemporary secondary school students.

4.3.4 Te Kākano

Te Kākano (The Seed) is the first (introductory level) of four textbooks in the Whanake (Development) series,67 _{a series that is “designed for adult and teenage}

learners of Māori.” (Moorfield, 2001, He kupu whakataki/Preface) This textbook, published by Pearson Education New Zealand and written by John Moorfield, first appeared in 1988. Since then, it has been reprinted several times and was revised in 2001. It begins with prefatory material, including an outline and explanation of the chapters (Ngā wehewehenga me ngā whakamārama). It has an appendix which includes a reference guide on the uses of the particles ā and ō and a dictionary/index of all of the vocabulary in this textbook and on supplementary audiotapes. Each of the ten chapters begins with a dialogue68 _{which is followed by explanations and}

examples of the target structures and new words (with some diagrams and maps), listening and speaking activities, a writing activity, and a final speaking activity. 4.3.4.1 Language content (including text-types, genres, and language skills) This textbook is characterized by a range of problems relating to the language introduced in terms of selection, grading, presentation and revision and integration. Thus, for example, the dialogue with which the first chapter begins, which is

67 _{The other books in the series are Te Pihinga (The Seedling), Te Māhuri (The Sapling) and Te}

Kōhure (The Tree).

68_{The dialogues are entitled, in order of appearance: Ko wai tō hoa? (Who is your friend?); Kei te}

haere koe ki hea? (Where are you going?); Kei te maranga a Mere (Mere is getting up.); Ko ngā whakaritenga mō te haere ki Tauranga (Preparation for travel to Tauranga); Kua reri te parakuihi

(Breakfast is ready); Te parakuihi (Breakfast); Kua ngaro ngā mōhiti o Mereana (Mereana’s glasses are missing/lost); Te hoko kai (Buying food); Ka waea a Tangiwai ki a Poia (Tangiwai rings Poia); and Kei te hui (At a/the gathering).

preceded by an explanation in English, includes all of the language indicated in Table 4.1. below.

Table 4.1: Language included in the first text segment of Te Kākano

Formulaic functions

Greetings: Kia ora; Tēnā koe; Tēnā koutou;

Enquiry relating to wellbeing with response: Kei te pēhea koutou? Kei te pai;

Questions relating to identity/ identification:Ko wai . . . ? Questions relating to original location and current location: Nō hea ..? Kei hea . . . ?

Nouns hoa (friend, companion); koro (older man, grandfather); tama (son, boy, nephew); pāpā (father, uncle); whaea (mother, aunt); kāinga (place of residence)

Particles e (preceding nouns used as terms of address; preceding a name

containing two short vowels); kei (relating to current location);

ko (preceding a name); mā (and others; signals relationship

between the participants and the inclusion of other people) Pronouns koe (2nd _{person singular; koutou (2nd, person plural, more than}

two)

Possessives ō (1st _{person plural possessive form, more than one thing}

possessed (my)); tō (1st _{person singular possessive form, one}

thing possessed (my)); taku (1st _{person possessive pronoun (not}

a superior position)) Adverbial ināianei (current/ now)

Mood Declarative: active; Interrogative

The dialogue is included below:

Hoani a man in his fifties meets Hera, Piripi and Moana. All three are adults but Moana is considerably younger than the others. Hoani has not met Moana before.

Ko Hoani: Tēnā koutou, e hoa mā.

Ko Hera: Tēnā koe, Hoani.

Ko Piripi rāua ko Mere: Kia ora, Hoani.

Ko Moana: Tēnā koe, e koro.

Ko Hoani: Kei te pēhea koutou?

Ko Piripi rāua ko Hera: Kei te pai.

Ko Hoani: Ko wai tō hoa e Hera?

Ko Hera: Ko Moana.

Ko Hoani: Nō hea koe, Moana?

Ko Hoani: Kei hea tō kāinga ināianei?

Ko Moana: Kei Te Rapa.

Ko Hoani: Ko wai ō mātua, e tama?

Ko Moana: Ko Piri Herewini taku pāpā. Ko Te

Rita taku whaea.69

(Moorfield, 2001, p. 1)

This dialogue contains a wide range of lexical and grammatical constructions selected and organized in a way that makes it extremely difficult to introduce them to learners without translation and memorization70_{. Thus, for example, although it}

would be possible to introduce the formulaic greetings Kia ora, Tēnā koe and Tēnā koutou using gestures and illustrations to signal meaning, this is almost impossible in other cases. For example, whereas Kei te pēhea koutou? is included, there is nothing to contrast it with in order to bring out the meaning of koutou. Similarly, as there is only one wellbeing response (Kei te pai), it would make no sense to

69 _{Translation: Greetings everyone. Greetings to you, John. Hello John. Hello, elder. How are you}

all? Ok. Sarah, who is your friend? Moana. Where are you from Moana? From Te Kauwhata. Where do you live now? At Te Rapa. Who are your parents, young man? My father is Piri Herewini. My mother is Te Rita.

70 _{The dialogue includes the following formulaic functions: greeting (Kia ora; Tēnā koe; Tēnā}

koutou); enquiry relating to wellbeing with response (Enquiry: Kei te pēhea koutou? Response: Kei te pai). The greeting is presented in two ways, one of which is presented in two versions – one

with the singular 2nd _{person pronoun (koe), the other with the plural 2}nd _{person pronoun (koutou). In}

the first 6 lines of this dialogue, two nouns occur. The first of these is hoa (friend/ companion); the second is koro (elderly man/ grandfather). In each case, the noun is preceded by the particle e (a multi-functional particle which, in this case, precedes nouns used as terms of address). In one case, the noun (hoa/friend) is followed by mā (and others, a multifunctional particle which, in this case, signals relationship between the participants, and the inclusion of other people). The next section of the dialogue includes questions and responses. The first question form relates to identification (Ko wai . . . ?/ Who . . . ?). It includes the particle e, this time preceding a name containing two short vowels (e Hera). It repeats the noun hoa which is, this time, preceded by the particle tō (which indicates, in this context, singular possession). The response includes a name (Moana), preceded by the particle ko, a multifunctional particle that, in this case, precedes a name. This interaction pattern is repeated in the final two lines of the dialogue. However, where as Ko wai was followed by the singular possessive form (tō) in the first case, it is here preceded by the plural possessive form (ō). In this interaction, three further nouns (tama/son, boy, nephew; pāpā/ father and whaea/mother,

aunt) are introduced. Furthermore, in this case, the response includes the 1st _{person possessive}

pronoun (taku). There are two further interactions in the dialogue. These include two further types of question form, both referring to location: Nō hea . . . (Where from?) and Kei hea . . . . (Where

is?). The first of these refers to original location; the second to current location, something that is

reinforced by the inclusion of ināianei (current/ now) and kāinga (place of residence). Although the first of these questions includes a name, the particle e is not used on this occasion because the name (Moana) has three short vowels (rather than a long vowel or two short ones). Echoing the first question form, the first answer form begins with Nō; echoing the second question form, the second answer form begins with Kei.

attempt to use illustrations to signal the meaning in this case. This is not to suggest that the dialogue should be longer or more detailed. On the contrary, it makes little sense in terms of language pedagogy to include so much linguistic variety in the first unit of an introductory textbook. It is certainly the case that the dialogue is, in one sense, authentic in that it includes some things that would typically be said during a meeting of the type indicated. However, all texts need to be accessible and appropriate to the level of the learners. In this case, the assumption must be that the authors expect that teachers will use translation as a primary concept introduction strategy.

It is noted in the Teachers' guide (Moorfield, 1993) that care has been taken "to use high frequency vocabulary and grammatical items early in the course" (p.7). There is, however, no indication of how frequency of use has been determined except for a reference to a first basic Māori word list prepared by Richard Benton (1982) as being "a valuable guide in ensuring that the most useful words occur in dialogues, stories, examples and exercises" (Moorfield, 1993, p.7.). It is also noted that vocabulary lists focus on urban rather than rural life and that the course begins with language relating to "common everyday situations and needs" (Moorfield, 2001, p.x), being "gradually expanded as they [the students] progress through the course.” (p. x). So far as language staging is concerned, the claim is that "[the] stage at which particular language items are introduced is governed by their usefulness rather than the difficulty of the form” (p. xi). Overall, so far as language selection is concerned, the only principles applied appear to be that of perceived usefulness and topical/ situational relevance. Very little, if any, consideration seems to have been given to pedagogic considerations such as, for example, how much language and of what type learners are likely to be able to cope with in the initial stages of language learning and how the meaning of that language can be conveyed (concept introduction) and checked (concept checking) without recourse to translation.71 _As

a further example of this, the dialogue included in Chapter 3 of the students' book, a dialogue that is introduced in English, is printed below:

71 _{In view of the date of publication of this work, it is not surprising to find no references to the}

Mere had a late night and has overslept. Roimata, her mother, is waking her.

Ko Roimata: E oho, e hine! Maranga! Kua reri te parakuihi. Ko Mere: He aha te tāima?

Ko Roimata: Whitu karaka. Haere ki te horoi! Kia tere! Ka mātaotao tō pāreti.

Ko Mere: Kei hea taku panekoti?

Ko Roimata: Kei roto i tō kāpata. Nāku i haeana inapō. I hea koe i te pō nei?

Ko Mere: I te kanikani māua ko Tio.

Ko Roimata: He aha te tāima i hoki mai ai kōrua? Ko Mere: Nō te rua karaka.

Ko Roimata: Ana. I pēhea te pēne?

Ko Mere: He rawe. (Moorfield, 2001, p. 26)72

Among the linguistic complexities introduced in this dialogue are the inclusion of stative sentence constructions, actor emphatic (past), asking and stating where something is (present and past) and what it is like, and indicating a specific time. There are no illustrations to assist in concept introduction and teachers are given no indication of how they are expected to make use of this dialogue in introducing new language and consolidating language already introduced.

In terms of both genres and text-types, there is almost no variety, the dominant text- type being the dialogue and the only distinct genre being recount/narrative. Although all four skills (reading, writing, listening and speaking) are included, there is, as in the case of Te Mātāpuna, little variety in terms of skills-based activities (see section 4.3.4.3 below).

72 _{Translation: Get up young girl! Wake up! Breakfast is ready; Whats the time?; Seven o’clock.}

Go wash! Hurry up! Your porridge will get cold; Where’s my skirt?; In your cupboard. I ironed it last night. Where were you last night?; Tio and I were at the dance; What time did you two actually get home?; At 2 o’clock; Well. How was the band?; Great.

4.3.4.2 Cultural content

In the preface to the Students' book the author notes that while attention has been paid to culture in the materials presented, teachers will have many opportunities to extend this, incorporating Māori values, beliefs, history, and cultural practices into their teaching (p.xii). He also suggests that teachers should try to create a Māori atmosphere in the class and within the institution where they operate. He refers, in particular, to the importance of concepts such as “manaakitanga (hospitality, caring and sharing), aroha (concern for others), mahi tahi (working together), mana (authority, prestige, right, influence, control), and whanaungatanga (relationships)” (Moorfield, 2001).

The author has included identity, family relationships, genealogy, and place of origin (all of fundamental importance in Māori culture) in the first chapters. In addition, he has included aspects of traditional forms of greeting and farewell and has also made reference to tribes and tribal boundaries and to marae visiting. Overall, this textbook is rooted in an awareness of the importance of culture and the treatment of cultural issues seems appropriate and wholly respectful.

4.3.4.3 Tasks and activities

This textbook includes a variety of exercises - listening exercises, writing exercises, reading exercises and speaking exercises, all of which occur towards the end of chapters. In general, however, there is an absence of genuinely communicative activities, with considerable stress on question and answer sequences in the context of reading and listening comprehension. These exercises are generally based very closely on the texts included in the textbook, as in the case of the following exercise in which the students are invited to provide appropriate responses to one side of a dialogue. As is often the case, a wide range of new language is included within a single exercise. Very few opportunities are provided for students to practice and consolidate smaller stretches of language initially, the result being that there is likely to be heavy reliance on memorization of language chunks. Exercises are generally very controlled.

Hei mahi tuhituhi73

Te mahi tuatahi

Tuhia ō kōrero hei whakaoti i ngā kōrero nei: Write your response to complete this dialogue:

Ko Niwa: Tēnā koe, e hoa

Ko au: ______________________________________________ Ko Niwa: Kei te pēhea koe?

Ko au: ______________________________________________ Ko Niwa: Nō hea koe?

Ko au: ______________________________________________ Ko Niwa: Kei hea tō kāinga ināianei?

Ko au: __________ ___________________________________ Ko Niwa: Ko wai tō hoa?

Ko au: ______________________________________________ Ko Niwa: Nō hea ia?

Ko au: ______________________________________________ Ko Niwa: Ko wai mā ngā mātua o tō hoa?

Ko au: ______________________________________________ Ko Niwa: Tokohia ngā tēina o tō hoa?

Ko au: ________________________________________ (Moorfield, 2001, p. 11)

Frequent recourse is made to English in introducing and explaining activities, as in the case of the following extract from a speaking activity:

Write your full name on a piece of paper. Your teacher will then collect your paper and those of the other people in your class and redistribute them so that everyone receives the name of a person she or he does not know. You must now find the person whose name you hold. Use a greeting and hongi with the person and then ask simple questions, such as:

73 _{Translation: Written exercises; The first task; Greetings, friend; How are you?; Where are you}

from; Where do you live now? Who is your friend?; Where is s/he from?; Who are your friend's parents?; How many younger siblings of the same gender does he/she have?

Ko wai tō ingoa? Ko Hēni tō ingoa?

When you have found the person, find out: Where she or he is from (e.g. Nō hea koe?)

Who her/his parents are (e.g. Ko wai mā ō mātua?)

Who her/his brothers and sisters are (e.g. Ko wai mā ō tuākana?) Do not speak English while you are doing this exercise. Finally, when everybody has found their person, the teacher will give each one a chance to introduce his or her new friend to the remainder of the class. For this use a greeting and a sentence such as:

Ko …….. taku hoa. Nō …….. ia.

Ko …….. tana pāpā. Ko …….. tana whaea.

Ko …….. tana tuakana. (Students' book, p. 11) 4.3.4.4 Quality and relevance of illustrations

The illustrations are in black and white and are generally of cartoon style except for the occasional use of maps and tables and the inclusion, in four chapters, of

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