This last presentation will be in English
and I will be introducing the English Project.
It's a pilot project
in the larger framework
of the autonomy of Galicia, as mentioned earlier
and it was approved by the Inspection
to be introduced in a secondary school.
The school is called A Xunqueira 1 and it's in Pontevedra
and it counted on the collaboration of one teacher
who had two groups.
The groups were selected arbitrarily
and the previous year most of the materials were tried
for design purposes
with all of the school years in secondary school.
From 1st of ESO to 2nd of Bachillerato.
It was tried successfully with every level
including the Formación Profesional introduced recently
which had difficult students
and usually very low levels of English learning and language.
Skills.
This innovation was introduced
in the form of a new curriculum
based on the requirements of the State and the autonomy
and the English department, which needs to be taken into account
and the preferences of the teachers who were involved
in other levels.
So what did I do at first?
Apart from proposing it to a teacher with two groups
the directors of the school and the inspection
who approved the project.
A new syllabus.
This involved not selecting a book.
It wasn't necessary for the purposes established at the beginning
and secondly, creating new materials from scratch.
Commenting on the previous issue of project-based learning
that was an essential approach methodologically speaking
because with a group of 30-something
in a very large group
differences are abysmal and there are things you can't do
or even certain things you do but lose them on the way.
This is nine months of work.
Then we redistributed the time they had in 2nd of Bachillerato.
They originally had one hour on Monday, Wednesday and Friday.
Actually 50 minutes or 45, because starting takes time.
We grouped them in blocks of two and a half hours with a pause
as suited us best.
And it was on Mondays
so we had Monday session after Monday session.
And you have 25 or 26 sessions if you're lucky.
You start working on it
and introduce this new syllabus.
It was project-based, organised in groups
and you had to guide them on a three-step basis.
First, you control the situation
and give them the functional elements that they will develop.
After that, they organise themselves
and in the last term, very short in 2nd of Bachillerato
they suggest new content themselves
or integration with other disciplines
which was our main objective from the beginning.
Apart from that
we introduced the key aspect of accessibility.
And we call it project-based accessibility.
Accessibility involves many things that I will mention shortly.
Firstly
how, without using a book
can you deposit materials in different formats
including audiovisual?
We had the YouTube channel.
The Xunco English YouTube channel, imitating the name of the school.
What you do is
upload all of the tutorials, as the main functioning elements
and every piece of software or freeware they need to use
for the accessibility purposes
and every other indication in the form of a video.
This has to be in English and accessible enough
so students, whatever their level, can do the same things.
Then, all of the videos are subtitled
and this channel is controlled by myself and the other teacher.
The only people who appear.
All of the materials are our property
but now what should be done with the students' own work?
You want to assess it, not necessarily yourself
because they could do it
with an instrument of evaluation
that is understandable from the beginning of the activity.
They knew the objectives beforehand.
That is done in Xunco Students.
There are about 500 videos with many things they did
from 21st September to 9th May.
We've finished recently.
But let's get into accessibility and what it is.
Accessibility, generally speaking, is about accessing spaces
but not only that, according to the Law of Accessibility
and in Spain we reformed it back in 2013.
It says that accessibility means that everybody
whomever they are
can use services that are public and spaces that are public
as in the case of accessing buildings
getting into a bus
having a lift in your house
or having the same availability of entertainment products
or cultural or educational products
as anybody else.
Even if you're blind or deaf.
That is why accessibility is many times related
in linguistics and language learning
to subtitles for the deaf and hard of hearing
which include linguistic and paralinguistic elements
on a textual track
for those who cannot listen.
The same applies to audiodescription.
What you can't see, you hear
in the form of an audio track.
But it's not limited to that.
It's also subtitling from one language to another
or from one language to that same language.
You need subtitles for the deaf and speak Spanish
then it's in Spanish enriched with other elements
such as noises, sound effects and speakers' attitudes.
The same is done for the blind, but we can introduce
overlapping voices
such as the ones you see in reality shows on television
as well as any other accessibility format.
Your choice could be interpreting or respeaking
or language processed through computers.
But what is the particular approach of this new project?
That these elements, these skills are used for learning
rather than as a support of learning.
They learn to subtitle
so then they're able to write
and apply those competences they should have had
before starting 2nd of Bachillerato.
And the real aim would be to achieve an integrated competence
of listening, reading, writing and so on
and mediation and translation, perhaps all at once
in the same session
so it can be repeated later at home or the next class.
Let's try one example of what we did during the year.
Remember, the first stage was teaching them to do it
in the second stage they evaluated the results
with instruments of evaluation such as rubrics
and the last step
is doing it themselves and assessing their own work.
Fairly and objectively.
That's the teacher's role.
Supervise that they do it according to what was established.
Now, in the middle, they learnt to dub.
That meant
you had a short audiovisual product, whatever the source
that was copyright legal or copyleft
and they produced the audio track in the same language.
They could also dub into their mother tongue or Spanish.
This applies to any other context.
Let's try one example
and then decide if we're doing well
with a different model.
For this I will need three volunteers.
No English knowledge required. Three people, please?
Fast.
Three people to the stage.
It's like this in the classroom too
and was practised in 1st of ESO.
The class wasn't as cold.
One more person, please?
If you do it with 2nd Bachillerato it's very cold the first day
not so much after.
What's the methodology to present the activity?
You need a 30 to 45 second audiovisual clip
and it's in English, subtitled by the teacher.
This is the first time.
Then they will write their own subtitles
change the audio track and transform it
creating a continuation in audio format.
First, let's have a look
and then we remove the sound.
This is as high as it goes.
That's the end. It has to be short.
We have three characters
but that's not really a problem even in a class of 35
because not all of them need to dub at once.
In fact, some of them should analyse what the soundtrack contains.
It's not only music. It's sound effects.
It's reactions from other characters, including the audience.
And another section of the class
should write a translation.
From English to Spanish
or to Galician, Catalan, Basque
or any other language, such as French.
Second step, after the first impression.
Sharing the work.
Giving the instructions for sound effects and translation.
And for those on the stage
to be organised around one microphone
because this school is low-tech.
The materials are my own and there's no internet or computers.
Many students can't use a computer.
That exists and you can find it in certain high schools.
You have no access to objects of a professional environment.
We have this computer, as we do here
minus the technology, because there is no screen.
Let's practice without the sound
and assign the character roles.
Noa, you will be Yama. It fits you.
Okay. -Yep.
A large 200-kilo man with a very deep voice.
You will be the girl. It suits you too.
And you the last character, Hiro Hamada.
Good, as we only have one microphone but we're not recording
we have to organise our people.
The microphone is like that and a row of two
followed by another and then another.
What they do is say the phrase, go back
and wait in line.
The next person does the same.
When the exchange is rapid
we need to be attentive
and it's go, go, go, go.
But after they do the second one
they do it better than you.
Good, now the phrase.
Chaume was here on Tuesday.
He's an expert in dubbing
and he analysed synchronisation between the audio and the image.
We should pay attention to lip synchrony.
The characters move their lips
and this animation is American, so it's in English.
If you have anime from Japan
the lips move like the Japanese
and you transform it in Spanish, or the other way round.
It depends.
Lip synchrony is the most difficult.
The second one is body synchrony.
If the character is 200 kilos and running
he's not sitting on a couch.
You have to do the effect.
The last one is isochrony.
It has to last exactly the same, maybe a bit more or less
but if it takes three seconds to say in English
it can't take ten seconds in Spanish
or one second in Galician.
It has to be the same thing.
That involves difficulties when you translate
adapt it and adjust it and it's not immediate work.
It takes hours and thus the blocks for projects like dubbing.
Let's begin. I will guide you.
You are the girl at the beginning
and you see that... sorry.
At first we have money changing hands
a kind of grumbling at the back
and she says
"The winner... by".
And in "by" you see her lips. Before that, say it freely.
It has to last the same, so it's not "the winner"
but "the winneeer"
"by..." and now lip synchrony "total annihilation..."
The winneeer
by total annihilatiooon
and then the second phrase.
But we also need...
I can do all three characters, yes
but this is educational, right?
First line: "The winner, by total annihilation"
"Yama", and Yama, or Noa, intervenes.
Good. First phrase.
There's noise in the background
and we need the noise department, this triangle of people.
You have to (GRUMBLES) have a conversation here.
Whatever it is.
Start. -(GRUMBLE)
Continue, continue.
(GRUMBLE)
Go. -The winner
by total annihilation
Yama! -Excellent. That's the first.
Very well lip synchronised.
(APPLAUSE)
Now comes Yama.
And Yama does something like this.
Moves this way, picks up a robot because he's had a fight
and you say
Who's next?
Who has the guts to step into the ring?
With little Yama.
Who's next?
Who has the guts to step into the ring?
With little Yama.
Deep voice. Violent guy.
Go.
"Who's next" is your first line. -No lip sync?
Not in the first phrase, no.
Go, who's next. -Who's next?
Who has the guts to get into the ring with little Yama?
He moved, we have to improve that.
(LAUGHS)
The reception is frigid
from the audience
and there's a (HISSES)
when the electric part comes out.
(HISSES)
Here's our sound effects department.
Follow that, the grumbling goes on.
No synchrony here, Hiro Hamada.
"Can I try?" Nasal voice.
Now. -Right.
You say "Can I try?" when you see the subtitle.
You can't see the face so you say "Can I try?"
Can I try? -Good, we move on.
I've got a robot. I built it myself.
If you want it like original -Yeah?
"I have a robot". -Okay.
Nasal voice.
I'll try. I'll do my best.
I have a robot. -Yes, stop there.
The character does it like this.
It's a (SIGH).
I have a robot (SIGH)
I built it myself. -I have a robot (SIGH)
I built it myself. -Okay, this is...
it's difficult for me, okay?
Go. -I have a robot. I built it myself.
I have a robot. I built it myself.
The next part is Yama and the public laughing.
Yama starts laughing there (LAUGHS)
and the public (LAUGHS)
Let's try. Go, Noa. -(LAUGHS)
(LAUGHS) -And the others.
(LAUGHS)
Okay, phrase again: "Beat it, kid".
"House rules, you gotta pay to play".
Follow the lips: "Beat it, kid".
"House rules, gotta pay to play".
"Pay, play". It's very visible. "Pay, play".
Go. -Beat it, kid. You gotta play.
House rules. Wow, too much.
(LAUGHS)
"I built it myself", remember.
Your line.
Beat it, kid. You... pay to play.
Got it?
"House rules. You gotta pay to play".
We move on.
"Oh!" No subtitle.
Warning! Not everything that is on the text
is what you should do.
The creative part.
Sometimes we see ourselves forced to change the text in Spanish.
Meaning the same thing. -I say it in English?
You can say it in English.
"House rules. You gotta pay to play". He says "Oh!"
And then the money: "Is this enough?"
Is this enough?
Now Yama: "What's your name, little boy?"
Go. -What's your name, little boy?
Good. And now you say
"Hiro", question mark. "Hiro Hamada", question mark.
Hiro. Hiro Hamada.
Pause in the middle. "Hiro".
"Hiro Hamada". -I'll do it right.
And Yama: "Prepare your bot, Zero".
There's coins moving and so on.
This is the third time we do it. And we record it.
They start, grumbling noises
translation department and then comes Spanish.
Let's try.
Let's see what we have.
Grumbling noise. -(GRUMBLE)
Yeah, continue, continue.
Three, two, one, go.
(DUB)
(LAUGHS)
If you do it with first year students
second year or Bachillerato, you will need three times.
First one with sound, second without and the last one they record.
And they have it.
If you want to see some examples, 500 if you want
go to Xunco Students.
First of ESO students did great
and 2nd of Bachillerato students, after the thousandth try
can dub it as voice actors.
You may sit down.
(APPLAUSE)
What happens if your classroom does not have the technology?
If some of them have computers but no internet
if they have internet, but no mobile
if they have a mobile with data.
The majority, even if they don't have a computer
tend to have a mobile with data.
And if 80% or 65%, that's the bare minimum
if they have them, they can do the project.
Why? You can always use voice notes in WhatsApp or Telegram.
One has the screen, the video is downloaded
from one of the computers that you have at school
or you give them the material.
One has the screen with the subtitle
because it's embedded in YouTube, if you upload it there
and the other has the microphone.
And they do as many characters as they may need.
The same thing with one mic as with two phones.
That's the interesting part.
This is not limited to animation.
You can use real films, as long as you have the rights.
For instance, I asked Disney to use this part of Big Hero 6.
It's only 45 seconds or less.
They had no problem if it was non-commercial
for educational purposes
and we quoted the source.
If you can guarantee that, you are free to use it.
If not, use copyleft materials like the Internet Archive.
If that isn't your preference
ask them to record their story and then dub it to other languages.
And subtitle it.
And audiodescribe it for the blind.
You can see how big the projects can get.
You practice the four competences and two more.
Mediation, because they discuss in the language of teaching
and also translation, explicitly and implicitly.
Now, another example.
It can get complicated. This one we won't do.
At least we have a look.
This is a video game, a good source of copyleft material
or authorised material to be used.
The advantage of video games published recently
is that they're already subtitled.
Subtitled in English.
You can't put another version without erasing the other
but for the dubbing part it's great.
Remember that lip synchrony we should pay attention to.
Then came body synchrony and isochrony.
Let's see if there's any issue in the first few seconds.
Any problems there? Too much mouth.
The phrase is "What's that hole?"
The original product is in Japanese and it is dubbed in other language.
This is the critical side of the exercise.
After you've done it yourself with your own materials
you judge the quality of others.
We have "What's that hole?"
and two or three seconds of text to be filled in.
Option one
maybe the least thought of
repeat the phrase: "What's that hole? What's that hole?"
It doesn't fit very well, but it makes do.
Credibility increases.
The second would be...
to invent another possibility.
One suggestion was "Oh, my God", very typical
"What's that hole?"
But it still didn't work.
The final version was: "Oh, my God, what the hell's that hole?"
Originally it wasn't so well pronounced.
(IMITATES ACCENT)
Something you can touch upon.
But this is explained rapidly.
You need preparation.
"Who has the guts..." is challenging in 1st of ESO.
Not so much 2nd Bachillerato
but these students aren't experts.
Some have a very poor level.
They can't produce orally and haven't been required to.
In the Selectividad, they aren't asked to speak English.
Only to listen to English. A very recent introduction.
This is another critical side of the same thing.
And... finishing up
let's comment on these aspects
of... formal learning
and the informal learning they do at home.
Introducing accessibility and the project-based methodology
what you do is involve
small groups of people, four to five
in a class of 35.
Quite unmanageable.
Remember that in this project I was the external individual
took control of the class and had an observer.
Two people in the room.
One kept track of what we did and how the students reacted
to measure it exactly with an experimental approach.
I introduced the materials, explained what was done and so on.
Apart from the technological side
we have the possibility of making it interdisciplinary
because after they can deal with it, they need audience reception.
And know their interests.
I'm not referring now to producing their own television programmes
or a television channel, as in a high-tech school.
They can do a small project
that is informative and contains a couple more subjects.
I tried with the Romantic period
in the third term, two years ago, with 1st and 2nd Bachillerato.
I introduced History of Art, History
Physics.
It's not incompatible with science. Have no fear.
That's a way of not having a book, having rigorous evaluation
involving them in the process of assessment
with good results.
If you measure in an instrumental way
how well they speak, write, translate and mediate
everybody goes up.
Even the ones that were abysmal.
Especially the abysmal.
They have this creative side that is not exploited.
And now...
imitating Antonio, I'm going to do a little self-promotion.
My contact details.
My email and telephone.
Download the presentation in the last slide.
And we have a book coming out
in September, we hope.
Here's the reference.
Traducción y accesibilidad audiovisual.
Noa can give you more information. She's the alma mater.
And there's a UNED summer course.
There are more in Ponferrada, Dénia and Madrid
dealing with similar issues.
Posibilidades didácticas de la traducción audiovisual
en la enseñanza de idiomas.
We expect fresh temperatures in Madrid in 18-20 July.
Presential and online.
If the weather's hot
you'll be comfortable online.
Enrolment open from 12th May.
Thank you.
(APPLAUSE)
Subtitulador: Tomás Costal.