HOMEWORK WITH MR VIVAS

TRUE STORIES

READING ACTIVITIES FOR THE CHILDREN WITH FUNNY STORIES

One of the most important tools

One of the most important tools of pre-reading is to preview the selection and look for unfamiliar words. Write down those words, decode them, and look up their definition. If you do this, your reading will be smoother, and you will increase your comprehension by leaps and bounds!

What you bring to the printed page will affect how you understand what you read and may be what is most important in understanding what you read. A little preparation goes a long way.

Reading activities guide you child through learning about letters, sight words, and more the fun way! Browse thorugh our selection of reading activities to see how your child can learn to read through hopscoth, clothespin exercises, and cookie baking! Usinig these reading activities keeps your child interested througt leteracy exercises, keeping his engamement and attention while learning, practicing, and studying, hel your child learn to read with these reading activities. Reading stories for kids aloud to your baby stimulates developing senses, and builds listening. Reading aloud: Teaches a baby about communication.

Introduces concepts sucha as numbers, letters, colors, and shapes in a fun way

builds listening, memory, and vocalubary skills

gives babies information aobut the world around them

 

Hearing words helps to build a rich network of words in a baby's brain. Kids whose parents frequently talk/read to them know mor words by age 2 than children who have not been read to. And kids who are read to during their early years are more likey to learn to read at the right time.

When you read, your child hears you using many different emotions and expresive sounds, which fosters social and emotional develpment. Reading also invites your baby to look pint, touch, and anwer questions- all of which promote social develpmente and thinking skills. And your baby improves language skills by imitating sounds, recognizing pictures, and learning words.

 Hearing words helps to build a rich network of words in a baby's brain. Kids whose parents frequently talk/read to them know mor words by age 2 than children who have not been read to. And kids who are read to during their early years are more likey to learn to read at the right time.

When you read, your child hears you usiing many different emotions and expresive sounds, which fosters social and emotional develpment. Reading also invites your baby to look pint, touch, and anwer questions- all of which promote social develpmente and thinking skills. And your baby improves language skills by imitating sounds, recognizing pictures, and learning words. Don't forget to improvise differnt voices or wear a ssy hat to make the story that

When the children reading, They get knowledges about diferents things and they learn about gramat too

The child and his mother: A curious child asked his mother: “Mommy ... beyond the radar trap with a sign reading “TIPS” and a bucket at his feet full of change. .... I like these stories, they keep me laughing and happy as i share.

http://www.readingrockets.org/ 

AS TEACHERS WE ALL KNOW THAT OUR VOICE IS A TEACHER'S VALUABLE ASSET.

By:Ingrid Veira
Defining a Role
As teachers we all know that our voice is a teacher’s most valuable asset. The one thing teachers do most often is talk (rightly or wrongly). They talk for long periods each day, for many years. They rely on their voices to a great extent, and with it they transmit not only information, but also mood, atmosphere and emotions. Moreover, how we speak and what our voice sounds like have a crucial impact on classes. Harmer, J. (2007) recommends three issues we should think about when considering the use of the voice in the management of teaching: audibility, variety and conservation.
Audibility The teacher’s voice needs to be effective in a variety of circumstances. Teachers need to be audible. Students at the back of the class must be able to hear them as well as those at the front. Switching from one-to-one and small groups to whole-class and games situations, teachers have to have adaptability as one of their abilities. Audibility, however, cannot be divorced from voice quality.
Teachers need a voice which projects well and appropriately in all these circumstances and which is also pleasant to listen to. Teachers do not have to shout to be heard or to make themselves understood. Good voice projection is more important than volume (though the two are, of course, connected). Speaking too softly or unpleasantly loudly are both irritating and unhelpful for students. Expressive voices, used in an imaginative way, draw students in and make them want to pay attention and listen. If such a voice has quality and liveliness, they will be motivated to attend, participate and learn. Is the teacher’s voice creating ‘good’ or ‘bad’ behaviour? Just as teachers have to use their voices over long periods of time, so students are required to listen to, or at least hear, teachers’ voices during class, the school week or semester. A teacher’s voice under strain can lead to permanent damage requiring medical treatment. Meanwhile, the discomfort the teacher is experiencing is transmitted to students. They also feel uncomfortable and they lose confidence in the teacher and become disturbed. Unintentionally, disruptive behaviour may be the outcome. Teachers should avoid ‘raising their voice’ in the sense of shouting or using a higher pitch, since this itself, may have an even more disturbing effect on the group. As a result, learning and positive activity is no longer possible. Besides, shouting over the noise of the class is a sure way to get a sore throat.
	When a voice is being badly used and abused in the classroom, this has negative effects on the students. A voice that is uncontrolled can often lead to misbehaviour. Students respond inappropriately when they feel that the teacher’s voice is patronising, too loud, monotone or weak. Bad behaviour can result from the lack of knowledge teachers have about the effect of their voice on their students.
Variety Harmer, J. (2007) mentions that it is important for teachers to vary the quality of their voices and the volume they speak at, according to the type of lesson and the type of activity. The keyword is ‘variety’. Our voices can be varied along a number of parameters: volume (how loud or softly we speak), pace (how quickly or slowly we speak, and how we use pausing), pitch (how high or low in our voice range we go), modulation (how we adjust the tone of our voice to convey a mood). If your voice is too high pitched, it can sometimes sound desperate, apologetic, and it seems as if you are asking students for permission when you are giving directions. The key to making the voice more interesting is to practice varying the above mentioned parameters. Remember that a tired voice can rarely be an interesting voice. Conservation The most common problem associated with the untrained voice is a lack of knowledge of good breathing habits. Breathing properly means being relaxed (in the shoulders, for example, and not slumped backwards or forwards), and using the lower abdomen to help expand the rib cage, thus filling the lungs with air. If breath is consistently only taken into the upper region of the lung, then the foundation support needed to expel the air will be insufficient. This leads to constrictions in the throat that will inhibit the voice. This is a very frequent problem in teachers’ voices. As Rodenberg, P. (1997) describes, ‘your support power suddenly meets blocks and constrictions in the throat and mouth. It is in these areas that we hold and distort our potential power and freedom. That stream of supported air finds itself fully or partially trapped as it tries to place itself in the face.’ Tension in the chest and neck creates insufficient support from the breath and can cause the raising of the larynx in the vocal tract. A further lack of understanding of pitch or resonant quality can cause habitual speaking on a note above each individual’s optimum pitch. Consequently, some voices can be thin or monotonous, others sharp and shrill; all quite inadequate for the work your voice has to do. Good voice production is not enough in itself. Once good flexibility has been achieved, you move into the area of voice delivery, to explore how to make the voice sound more expressive. Insufficient experience in speaking to large groups can lead to a rapid delivery of speaking too fast, which contributes to a lack of clarity in expressing ideas and putting over information. Instructions, explanations and story reading may well be dull and monotonous, lacking in vitality and imagination. This is not always caused by a lack of imagination on our part; it may result from the absence of physical techniques to make the voice work in the required manner. Voice maintenance activities The following exercises are not only for teachers, but can be implemented in the classroom as part of pronunciation or speaking lessons. Your students will benefit from these and at the same time have fun. Be prepared for some noise! "Alan Maley recommends some voice maintenance exercises. The quickest activity of all is to YAWN. When you yawn, the muscles controlling the aperture at the back of your throat are stretched to the utmost. " Alan Maley recommends some voice maintenance exercises. The quickest activity of all is to YAWN. When you yawn, the muscles controlling the aperture at the back of your throat are stretched to the utmost. Another very quick way to get ready for using your voice, is to flop over loosely from the waist and to come up again slowly on a long breath. When you are standing straight again, your body will be in alignment. Then raise your shoulders as high as possible, and let them drop. Do this two or three times. Then roll your head three times to the right and three times to the left. Take three or four deep breaths, pulling the air right down inside you, and releasing slowly. Breathing, incorporating some tone and pitch exercises Charlyn Wessels recommends some of the following breathing exercises and vocal warm-ups. Place your fingers on your ribs with the thumbs behind, pointing towards the spine, three or four inches above the waist just in front of the armpits. Breathe silently and feel the movement of your chest. Breathe laterally, i.e. outwards and not up. Do this for five minutes. Next relax your jaws by breathing in through your nose, and , silently, release the breath through your mouth. Inhale for three counts, hold it for three, and exhale for three. Do this for a further five minutes. From the above exercise, go into the following tone exercise: Inhale, and let out the breath on a long AAAAAAAAAAH. Inhale, and let out the breath on a long OOOOOOOOOOH. Inhale, and let out the breath on a long EEEEEEEEEEEEE. Do the same with MMMMMMMMM and NNNNNNNNN. Now practise combinations of the above with a rising and falling pitch, i.e. start low, and make the voice climb as high as possible; start high and make the voice fall as low as possible. Use a full breath for these pitch exercises. Repeat each combination at least three times. Vocal warm-ups Each of the following vocal warm-ups should be repeated five times, with increasing speed and volume. Choose a different one every day. papapa/bababa/tatata/dadada/kakaka/gagaga The tip of the tongue, the teeth and the lips Make me many, many more Hot coffee in a proper copper coffee pot Hum for at least 15 minutes before teaching (for example on your way to work). This will warm up your vocal chords and maintain your voice. Now, you are ready! Conclusion. Vocal flexibility is the result of experience, lots of practice, and attention to many small, but important, factors that many people are not aware of or do not care about. Posture is one. Breathing is another. Breathing and posture are related. If we have good posture, our breathing is easier. If our breathing is more under control, then so are our voices.

Teachers are blessed with one of the most rewarding jobs on the planet. It takes an effective teacher to reach every child in their care and inspire them to learn. Teachers are always evolving and figuring out new methods of delivering their curriculum in compelling and memorable fashions. One simple method of corralling your audience and helping them to gain a thirst for knowledge is to utilize your voice as a teaching tool.

Students may lose focus or tune out a teacher if the manner in which the material is being presented is boring. With this in mind, teachers need to use their voice in order to wrest the attention of their students away from distractions.

Teachers can effectively use their voice as a teaching tool through the following strategies;engaging typically poor listeners, creating a safe environment through a voice that is warm and caring, generating enthusiasm amongst the students through changes in pace, cadence, tone, pitch, and reading their audience correctly and then selling them your ideas.

With an active rather than a passive voice, teachers can engage poor listeners by consistently calling on them or speaking directly to them. A great utilization of voice is simply walking around the room instead of occupying a single space. The more you roam around the room as a teacher, the more command you have over your audience. Their eyes tend to follow you, as do their ears. Whilst in motion, the teacher’s voice carries differently, thus reaching every student in a different manner.

Another teacher tip for using their voice as an effective teaching tool is to create a safe and inviting atmosphere by changing their voice to invoke alternative reactions to the learning process. Teachers should use a loud voice when stressing or emphasizing something of importance (such as a hint to a test question), a warm voice when conveying sympathy or compassion, a cold voice when showing disdain, and a soft voice when harnessing their attentive interest.

When a teacher speaks with passionate enthusiasm, students are more likely to respond in a positive fashion. A teacher that displays curriculum with an enthusiastic approach has a much better chance of selling the material and having the students buy into the educational philosophy. This is a very effective use of voice as a teaching tool since it may lure more attention to the lesson, thus enabling students to have a much better chance at success.

Whether or not the teacher is addressing young children or high school students, another effective voice tool is to change your voice. While reading a play, novel, or picture book, a teacher can switch their voice for that of a different character in order to pique curiosity. Teachers can change between male and female, young and old, and so forth in an attempt to appeal to their students. The fluctuations in tone, cadence and pitch that are utilized are also seen as effective teaching tools.

Students that tune out the teacher due to a monotonous voice miss out on the curriculum, hindering their chances at academic success. Teachers need to do whatever necessary in order to engage their audience and maintain their attention in order for their students to absorb the course curriculum. This is how teachers can use their voice as a most effective teaching tool.

 

OPPORTUNITIES

https://www.dropbox.com/s/ajemxpsnkhmpg3m/pages%20111-144%20elementary0001.pdf


https://www.dropbox.com/s/x5uc0a9apw81pl2/New%20Opportunities%20Pre-Intermediate%20Teacher%27s%20Book.pdf?n=236682558

https://www.dropbox.com/s/x5uc0a9apw81pl2/New%20Opportunities%20Pre-Intermediate%20Teacher%27s%20Book.pdf?n=236682558

ROBOTICS

wHAT DO OU THINK THE ROBOTS IN TEH PHOTOS DO?

1. Clean floors
2. interact with people
3. guard house.

read the web pae and check your answers.

the scientist . questions and answers

Our science editor, Tim Steer, is now online and answering some of our readers' questions about robotics- the study and design of robots.

Have we invented intelligent robots? Sarah Noble, Bristol
No, we haven't. But scientists are workin on it. they have created robots that intereact with people. they have programmed the robotos to wathe people ande to react to them.

which scientist have worked in this field?  Jeremy Mitchell, exeter. 

COMPUTERISED HOUSE

COMPUTERISED HOUSE

Actually the tecnology do computerized design for hause, you can find ideas for the kitchen, bedrooms and that are computerized designs. You can find diferents styles for example in the houses there is a remote control for the televisión. There is a remote control for to open the parking, etc, but now there is a an Ipad, Iphone with universal remote control. We can to open or to use all with iPad Adjust lightening, Turn on Tvs and other audio systems, check security alarms, close windows, monitor temperatures in every room, to access to internet, to open the parking, lighting the kitchen while you driving to home. The house has a remote control and programmed to recognize predefined scenarios. Announce visitors, provides secure remote password changes, and service personnel access for your security. Wiew and manage your home from anywhere in the world. The house has multi room audio and video from any room in the house. That is the house of my dreams.

VOICE

Variety
Harmer, J. (2007) mentions that it is important for teachers to vary the quality of their voices and the volume they speak at, according to the type of lesson and the type of activity. The keyword is ‘variety’. Our voices can be varied along a number of parameters: volume (how loud or softly we speak), pace (how quickly or slowly we speak, and how we use pausing), pitch (how high or low in our voice range we go), modulation (how we adjust the tone of our voice to convey a mood). If your voice is too high pitched, it can sometimes sound desperate, apologetic, and it seems as if you are asking students for permission when you are giving directions. The key to making the voice more interesting is to practice varying the above mentioned parameters. Remember that a tired voice can rarely be an interesting voice.

Conservation
The most common problem associated with the untrained voice is a lack of knowledge of good breathing habits. Breathing properly means being relaxed (in the shoulders, for example, and not slumped backwards or forwards), and using the lower abdomen to help expand the rib cage, thus filling the lungs with air. If breath is consistently only taken into the upper region of the lung, then the foundation support needed to expel the air will be insufficient. This leads to constrictions in the throat that will inhibit the voice. This is a very frequent problem in teachers’ voices. As Rodenberg, P. (1997) describes, ‘your support power suddenly meets blocks and constrictions in the throat and mouth. It is in these areas that we hold and distort our potential power and freedom. That stream of supported air finds itself fully or partially trapped as it tries to place itself in the face.’

Tension in the chest and neck creates insufficient support from the breath and can cause the raising of the larynx in the vocal tract. A further lack of understanding of pitch or resonant quality can cause habitual speaking on a note above each individual’s optimum pitch. Consequently, some voices can be thin or monotonous, others sharp and shrill; all quite inadequate for the work your voice has to do.

Good voice production is not enough in itself. Once good flexibility has been achieved, you move into the area of voice delivery, to explore how to make the voice sound more expressive. Insufficient experience in speaking to large groups can lead to a rapid delivery of speaking too fast, which contributes to a lack of clarity in expressing ideas and putting over information. Instructions, explanations and story reading may well be dull and monotonous, lacking in vitality and imagination. This is not always caused by a lack of imagination on our part; it may result from the absence of physical techniques to make the voice work in the required manner.

Voice maintenance activities
The following exercises are not only for teachers, but can be implemented in the classroom as part of pronunciation or speaking lessons. Your students will benefit from these and at the same time have fun. Be prepared for some noise!

"Alan Maley recommends some voice maintenance exercises. The quickest activity of all is to YAWN. When you yawn, the muscles controlling the aperture at the back of your throat are stretched to the utmost. "

Alan Maley recommends some voice maintenance exercises. The quickest activity of all is to YAWN. When you yawn, the muscles controlling the aperture at the back of your throat are stretched to the utmost.

Another very quick way to get ready for using your voice, is to flop over loosely from the waist and to come up again slowly on a long breath. When you are standing straight again, your body will be in alignment. Then raise your shoulders as high as possible, and let them drop. Do this two or three times. Then roll your head three times to the right and three times to the left. Take three or four deep breaths, pulling the air right down inside you, and releasing slowly.

Breathing, incorporating some tone and pitch exercises
Charlyn Wessels recommends some of the following breathing exercises and vocal warm-ups.

Place your fingers on your ribs with the thumbs behind, pointing towards the spine, three or four inches above the waist just in front of the armpits. Breathe silently and feel the movement of your chest. Breathe laterally, i.e. outwards and not up. Do this for five minutes.

Next relax your jaws by breathing in through your nose, and , silently, release the breath through your mouth. Inhale for three counts, hold it for three, and exhale for three. Do this for a further five minutes.

From the above exercise, go into the following tone exercise:

• Inhale, and let out the breath on a long AAAAAAAAAAH.
• Inhale, and let out the breath on a long OOOOOOOOOOH.
• Inhale, and let out the breath on a long EEEEEEEEEEEEE.
• Do the same with MMMMMMMMM and NNNNNNNNN.
• Now practise combinations of the above with a rising and falling pitch, i.e. start low, and make the voice climb as high as possible; start high and make the voice fall as low as possible. Use a full breath for these pitch exercises. Repeat each combination at least three times.

Vocal warm-ups
Each of the following vocal warm-ups should be repeated five times, with increasing speed and volume. Choose a different one every day.

• papapa/bababa/tatata/dadada/kakaka/gagaga
• The tip of the tongue, the teeth and the lips
• Make me many, many more
• Hot coffee in a proper copper coffee pot

Hum for at least 15 minutes before teaching (for example on your way to work). This will warm up your vocal chords and maintain your voice. Now, you are ready!


Conclusion.

Vocal flexibility is the result of experience, lots of practice, and attention to many small, but important, factors that many people are not aware of or do not care about. Posture is one. Breathing is another. Breathing and posture are related. If we have good posture, our breathing is easier. If our breathing is more under control, then so are our voices.

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Comments/ Questions

I would like more information about the sports posters on your website:

What is the exact size of the posters? It doesn't mention that on the website.
Do the posters cost more for people out of the Táchira?
How much does postage cost for people in Caracas ?
What selection of football posters have you got? Could you please send me a catalogue by post. Tell us about small towns please and if you have hotels or hostel, because I want go to Táchira state, when the deportivo Táchira plays.